UC-NRLF 


17D 


WITHIN  THE  LAW 

BY  BAYARD  VEILLER 


FRENCHSSWMOARDUBRARYEDITIOH 


SAMUEL  FRENCH,  25  West  45tb  St.  New 


ARE  YOU  A  MASON? 

Farce  in  3   acts.     By  Leo  Ditrichstein.     7  males,  7  fe 
males.     Modern  costumes.    Plays  2  ^  hours.     1  interior. 

"Are  You  a  Mason?"  is  one  of  those  delightful  farces  like 
"Charley's  Aunt"  that  are  always  fresh.  "A  mother  and  a 
daughter,"  says  the  critic  of  the  New  York  Herald,  "had  hus 
lands  who  account  for  absences  from  the  joint  household  on 
frequent  evenings,  falsely  pretending  to  be  Masons.  The  men 
do  not  know  each  other's  duplicity,  and  each  tells  his  wife  of 
having  advanced  to  leadership  in  his  lodge.  The  older  womaa 
•was  so  well  pleased  with  her  husband's  supposed  distinction  in. 
the  order  that  she  made  him  promise  to  put  up  the  name  of  a 
•visiting  friend  for  membership.  Further  perplexity  over  the 
principal  liar  arose  when  a  suitor  for  his  second  daughter's  hand. 
proved  to  be  a  real  Mason.  ...  To  tell  the  story  of  the  play 
•would  require  volumes,  its  complications  are  so  numerous.  It  ia 
a  house  of  cards.  One  card  wrongly  placed  and  the  whole  thing 
would  collapse.  But  it  stands,  an  example  of  remarkable  in 
genuity.  You  wonder  at  the  end  of  the  first  act  how  the  fun 
can  be  kept  up  on  such  a  slender  foundation.  But  it  continues 
and  grows  to  the  last  curtain."  One  of  the  most  hilariously 
amusing  farces  ever  written,  especially  suited  to  schools  and 
Masonic  Lodges.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents, 


KEMPY 

A  delightful  comedy  in  3  acts.  By  J.  0.  Nugent  and 
Elliott  Nugent.  4  males,  4  females.  1  interior  throughout. 
Costumes,  modern.  Plays  2%  hours. 

No  wonder  "Kempy"  has  been  such  a  tremendous  hit  in  New 
York,  Chicago — wherever  it  has  played.  It  snaps  with  wit  and 
tumor  of  the  most  delightful  kind.  It's  electric.  It's  small 
town  folk  perfectly  pictured.  Full  of  types  of  varied  sorts,  each, 
one  done  to  a  turn  and  served  Avith  zestful  sauce.  An  ideal 
entertainment  for  amusement  purposes.  The  story  is  about  a  high- 
falutin'  daughter  who  in  a  fit  of  pique  marries  the  young  plumber- 
architect,  who  comes  to  fix  the  water  pipes,  just  because  he 
"understands"  her,  having  read  her  book  and  having  sworn  to 
marry  the  authoress.  But  in  that  story  lies  all  the  humor  that 
kept  the  audience  laughing  every  second  of  every  act.  Of  course 
there  are  lots  of  ramifications,  each  of  which  bears  its  own  brand 
of  laughter-making  potentials.  But  the  plot  and  the  story  are 
not  the  main  things.  There  is,  for  instance,  the  work  of  the 
company.  The  fun  growing  out  of  this  family  mixup  is  lively  and 
clean.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents. 

*«BBMnnai^HBB«BMnaiMnnHMMW^MMMHB«M«M^Ca«IMnMnnBMH«MBMHHHMKM 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
He*  and  Explicit  Descriptive  Catalogue  Mailed  Free  on  Bequest 


WITHIN  THE 
LAW 

A  Melodrama  in  Four  Acts 

BY 
BAYARD  VEILLER 


Copyright,  1912,  by  Bayard  Veiller 
Copyright,  1917,  by  Samuel  French 


All  Rights  Reserved 


CAUTION  —  Amateurs  and  professionals  are  hereby 
warned  tlkt  "WITHIN  THE  LAW,"  being  fully  pro 
tected  under  the  copyright  laws  of  the  United  States, 
is  subject  to  royalty,  and  anyone  presenting  the  play 
without  the  consent  of  the  owners  or  their  authorized 
agents  will  be  liable  to  the  penalties  by  law  provided. 
Applications  for  amateur  acting  rights  must  be  made 
to  SAMUEL  FRENCH,  25  West  45th  'Street,  New  York. 
Applications  for  professional  acting  rights  must  be 
made  to  the  American  Play  Company,  33  West  42nd 
Street,  New  York. 


NEW  YORK 

SAMUEL  FRENCH 

PUBLISHER 


LONDON 

SAMUEL  FRENCH,  LTD, 
26  SOUTHAMPTON  STREET 


25  WEST  45TH  STREET 

Los 
SAMUBL  57  •  '       ' 


"Within  the  Law" 
All  Rights  Reserved 


Especial  notice  should  be  taken  that  the  possession 
of  this  book  without  a  valid  contract  for  production 
first  having  been  obtained  from  the  publisher,  confers 
no  right  or  license  to  professionals  or  amateurs  to 
produce  the  play  publicly  or  in  private  for  gain  or 
charity. 

In  its  present  form  this  play  is  dedicated  to  the 
reading  public  only,  and  no  performance,  representa 
tion,  production,  recitation,  or  public  reading,  or  radio 
broadcasting  may  be  given  except  by  special  arrange 
ment  with  Samuel  French,  25  West  45th  Street,  New 
York. 

This  play  may  be  presented  by  amateurs  upon  pay 
ment  of  a  royalty  of  Twenty-five  Dollars  for  each  per 
formance,  payable  to  Samuel  French,  25  West  45th 
Street,  New  York,  one  week  before  the  date  when  the 
play  is  given. 

Whenever  the  play  is  produced  the  following  notice 
must  appear  on  all  programs,  printing  and  advertising 
for  the  play:  "Produced  by  special  arrangement  with 
Samuel  French  of  New  York." 

Attention  is  called  to  the  penalty  provided  by  law 
for  any  infringement  of  the  author's  rights,  as  fol 
lows: 

"SECTION  4966: — Any  person  publicly  performing 
or  representing  any  dramatic  or  musical  composition 
for  which  copyright  has  been  obtained,  without  the 
consent  of  the  proprietor  of  said  dramatic  or  musical 
composition,  or  his  heirs  and  assigns,  shall  be  liable 
for  damages  thereof,  such  damages,  in  all  cases  to 
be  assessed  at  such  sum,  not  less  than  one  hundred 
dollars  for  the  first  and  fifty  dollars  for  every  sub 
sequent  performance,  as  to  the  court  shall  appear  to  be 
just.  If  the  unlawful  performance  and  representation 
be  wilful  and  for  profit,  such  person  or  persons  shall 
be  guilty  of  a  misdemeanor,  and  upon  conviction  shall 
be  imprisoned  for  a  period  not  exceeding  one  year." — 
U.  S.  Revised  Statutes:  Title  60,  Chap.  3. 


The  following  is  a  copy  of  the  play  bill  of  the  first  per 
formance  of  "Within  the  Law/'  as  produced  at  the  Eltinge     r^  f 
Theatre,  New  York,  September  11th*  1912: 

MESSES.  SELWYN  &  COMPANY 

*4* 

PRESENT 

WITHIN   THE    LAW    '*" ' 

A  MEWDRAMA  IN  FOUR  ACTS 

BY 
BAYARD  VEILLEE 

The  characters  are  named  in  the  order  of  their  appearance 

THE  CAST 

SARAH,  Edward  Gilders  private 

secretary Georgia  Lawrence 

SiClTHSOH,   floorwalker  at   "The 

Emporium" g.  V.  Phillips 

RICHARD   GILDER,   Edward    Gil 
der's  son Orme  Caldara 

EDWARD    GILDER,    proprietor    of 

"The  Emporium"    ....     Dodson  Mitchell 
GEORGE  DEMAREST,  Edward  Gil- 

der's  lawyer Brandon  Hurst 

HELEN    MORRIS,    a   salesgirl    in 

"The  Emporium"    ....     Catherine  Tower 
DETECTIVE  SERGEANT  CASSIDY  of 

the  New  York  police    .    .    .     John  Willard 


E 


MARY  TURNER,  a  saleswoman  in 

"The  Emporium"    ....     Jane  Cowl 

AGNES  LYNCH,  a  confidence 
woman Florence  Nash 

JOE  G  ARSON,  a  forger ....    William  B.  Mack 

FANNIE,  a  moid Martha  White 

WILLIAM  IRWIN,  a  lawyer    .     .     William  A.  Norton 

EDDIE  GRIGGS,  a  crook  known  as 
"English  Eddie"      ....     Kenneth  Hill 

POLICE  INSPECTOR  BURKE  of  the 

New  York  police      ....     Wilton  Taylor 

THOMAS,  a  butler Arthur  Moore 

CHICAGO  RED,  a  crook     .    .    .     Arthur  Spaulding 

TOM  DACEY,  a  crook  ....     John  Camp 

WILLIAMS,  a  stenographer  at  po 
lice  headquarters      .     .     .          Joseph  Niekson 

THOMPSON,    a   detective    of    the 

New  York  police     ....     Edward  Bolton 

DAN,  doorman  at  police  headquar 
ters  .  ....     Frederick  Howe 


ACT  I 

TIME: — About  noon.    Early  Spring. 

SCENE  : — Office  of  EDWARD  GILDER,  proprietor  of  The 
Emporium.  There  is  a  door  down  left  leading 
into  the  store  and  another  door  up  center  lead 
ing  into  the  hall.  The  door  down  left  opens  off 
and  up-stage,  and  the  door  up  center  opens  up 
and  to  the  left.  Doivn  right,  almost  to  the  cur- 
tain-line,  is  MR.  GILDER'S  desk,  set  at  an  angle  so 
that  anyone  coming  in  the  door  center  or  the 
door  left  can  be  observed  by  anyone  sitting  at 
the  desk.,  without  moving.  The  angle  of  the  desk 
is  from  down  right  to  up  right  center.  Up  right, 
set  obliquely,  is  a  large  table  covered  with  de 
partment  store  samples.  The  angle  of  this  desk 
is  from  down  left  to  up  center.  A  hat-tree  is 
just  left  of  center  door.  There  is  an  office  chair 
in  upper  right  corner  and  a  large  leather  rocker 
right  of  center  door,  and  above  GILDER'S  desk; 
another  leather  chair  is  down  left  just  below 
door  left.  There  is  an  office  chair  just  below 
sample  table  and  facing  up  stage.  Another 
office  chair  is  right  of  GILDER'S  desk.  There  is  a 
plain,  green  carpet  on  the  floor.  All  of  this  fur 
niture,  with  the  exception  of  the  two  leather 
chairs,  is  mahogany.  The  leather  chairs  are 
green  leather.  The  walls  of  the  office  are  pan 
elled  in  mahogany  half-way  up  and  the  upper 
half  is  plain  green. 

LIGHTS  : — The  foots  and  first  border  are  up  full  white 
and  stand  during  the  entire  act.     Back  of  the 
two  doors  are  white  bunches. 
3 


4  WITHIN    THE    LAW 

AT  RISE: — SARAH  is  discovered  seated  at  GILDER'S 
desk  opening  mail.  When  the  curtain  is  well  up 
SMITHSON  enters  left  and  crosses  to  left  center. 
SARAH  just  looks  up  and  then  goes  on  with  her 
work. 

SMITHSON.     Has  Mr.  Gilder  come  down  yet  ? 

SARAH,  He's  down  at  the  Court  of  General  Ses 
sions. 

SMITHSON.  (as  he  crosses  to  L.  of  desk)  Ah! 
Yes,  I  remember  now.  Well.  I  hope  the  girl  gets  off. 
She's  a  nice  little  thing. 

SARAH.     Oh,  did  you  know  her  ? 

SMITHSON.  Naturally  one  doesn't  know  salespeo 
ple;  but  they  put  her  in  my  department  when  she 
first  came  to  work  here.  She's  a  good  saleswoman, 
as  saleswomen  go;  in  fact,  I  thought  her  a  very 
worthy  person.  She's  the  last  girl  in  the  world  I'd 
take  for  a  thief,  (going  toward  door  L.)  Will  you 
please  let  me  know  when  Mr.  Gilder  arrives?  I  have 
several  little  matters  I  want  to  discuss  with  him. 
(SMITHSON  exits  L.  Door  at  c.  is  thrown  open  and 
DICK  GILDER  rushes  in  and  down  c.  with  a  suit 
case  in  his  hand,  as  he  speaks.) 

DICK.     Hello,  Dad ! 

(SARAH  looks  up,  and  as  she  sees  DICK,  quickly  rises 
and  goes  around  lower  end  of  desk  to  meet  DICK 
at  c.,  as  she  speaks.) 
SARAH.    Why,  Mr.  Dick ! 

DICK.  (DiCK  stops  at  c.  as  he  shows  his  displeas 
ure  at  not  finding  his  father  in.  He  drops  his  suit 
case  and  extends  both  his  hands  to  SADIE,  who  takes 
them)  Oh,  hello,  Sadie.  I'm  home.  Where's  dad? 

SARAH.    In  court. 


WITHIN   THE   LAW  5 

DICK,  (as  he  drops  SARAH'S  hands)  In  court? 
(laughingly)  What's  he  done  this  time?  (SARAH 
laughs  and,  going  to  lower  end  of  desk,  sits  and  con 
tinues  her  work  as  DICK  removes  his  hat  and,  crossing 
to  the  opposite  side  of  the  desk,  half  sits  on  it)  Be 
rn  ember  the  time  that  fresh  cop  arrested  him  for 
speeding  ?  I  thought  he'd  have  the  whole  police  force 
discharged. 

SARAH.  We  didn't  expect  you  for  two  or  three 
months  yet. 

DICK,  (crossing  to  desk  and  half  sitting  on  it) 
Sadie,  don't  ever  let  the  old  man  know  it,  he'd  be  all 
swelled  up,  and  we  can't  afford  to  let  our  parents 
swell  up.  It's  bad  for  them,  but  I  got  kind  of  home 
sick  for  dad. 

SARAH,     (looking  up  at  DICK  with  a  laugh)    Oh! 
DICK.     That's  the  truth.     I  went  broke,  too. 

(SARAH  laughs) 

DICK.     Whaf  s  father  doing  in  court  ? 
SARAH.     One  of  the  girls  was  arrested  for  stealing. 

DICK.  And  dad  went  down  to  court  to  get  her 
out  of  the  scrape.  Isn't  that  just  like  the  old  man. 

SARAH.  She  was  tried  last  week  and  convicted. 
The  judge  sent  for  Mr.  Gilder  to  come  down  this 
morning  and  have  a  talk  with  him  about  the  sen 
tence. 

DICK.  Oh,  well,  it'll  be  all  right.  Dad's  heart  is 
as  big  as  a  barrel.  He'll  get  her  off.  (DicK  gives  a 
sudden  start,  jumps  off  desk  and,  as  he  goes  hur 
riedly  towards  door  at  c.)  Oh,  Lord!  I  forgot  all 
about  it. 

SAKAH.    About  what,  Mr.  Dick? 


6  WITHIN    THE    LAW 

DICE,  (as  lie  turns  to  SARAH)  My  taxi's  been 
waiting  all  this  time.  (SARAH  goes  on  with  her 
work,  not  noticing  DICK.  DICK  goes  all  through  his 
pockets,  when  looking  at  SARAH  with  some  hesita 
tion}  Sadie — Sadie,  have  you  got  five  dollars? 

SARAH,  (looking  at  DICK  with  a  laugh)  Five 
dollars? 

DICK.     Yes.     I'm  broke. 

SARAH.  Wait  a  minute.  (SARAH  turns  up  stage 
and  starts  for  her  stocking.  DICK,  as  he  realizes 
what  SARAH  is  about  to  do,  turns  away  towards  sam 
ple  table  and  puts  his  hand  over  his  eyes.  SARAH 
gets  the  money  from  her  stocking  and,  as  she  offers 
one  ~bill  across  the  desk  to  DICK)  Here  you  are. 

DICK,  (as  he  quickly  crosses  to  SARAH  and  takes 
the  money)  Thanks.  Say,  Sadie,  remember  when 
I  used  to  borrow  nickels  from  you  to  buy  candy? 

SARAH.  Yes,  and  you're  not  much  older  now  than 
you  were  ten  years  ago. 

DICK,  (as  he  crosses  over  and  picks  up  his  suit 
case)  I'll  be  right  back,  but  I  won't  come  until  I 
know  dad's  here.  I  want  to  give  him  the  surprise  of 
his  young  life,  (starts  toward  door  at  c.,  but  stops 
and  looks  at  his  suitcase,  then  turns  to  SARAH) 
Where  can  I  put  this  so  he  won't  see  it? 

SARAH,  (as  she  goes  on  luith  her  work)  Oh,  any 
where. 

DICK,  (looks  around,  then)  Oh,  I  know. 
(crosses  and  puts  suitcase  under  sample  table  and 
starts  to  door  c.)  Don't  give  him  a  hint,  will  you, 
Sadie? 

SARAH.     No,  indeed ! 

DICK,  (in  the  doorway  at  c.)  That's  an  old  £ar. 
I'm  tickled  to  death  to  see  you  again,  Sadie,  really 
I  am. 


WITHIN   THE   LAW  ? 

SABAH.  Me,  too,  Mr.  Dick.  (DiCK  exits  at  c. 
Phone  bell  rings.  SARAH  rises,  and,  going  around  to 
upper  end  of  desk  so  that  she  faces  front,  picks  up 
'phone)  Hello — hello?  No,  sir,  he  hasn't  reached 
the  office  yet.  (pause)  At  four  this  afternoon. 
Wait  till  I  see.  (SABAH  leans  across  the  desk  and 
looks  at  memo  pad,  then  back  into  'phone)  Yes, 
he'll  be  free  at  four,  but  he  has  another  engagement 
at  four-thirty —  (ME.  GILDER  enters  at  c.,  and  as 
SARAH  continues,  bangs  his  hat  on  hat  tree  and 
crosses  to  'phone)  Just  a  minute,  Mr.  Hastings. 
Here's  Mr.  Gilder  now.  (to  GILDEE,  as  she  sets  the 
'phone  down  and  steps  back)  Mr.  Hastings  of  the 
Empire  wants  to  know  if  you  can  see  him  at  four 
this  afternoon. 

(MR.  GILDEE  picks  up  'phone  as  SARAH  crosses  to 
sample  table  and  examines  samples.) 

MR.  GILDEE.  (into  'phone)  Oh,  good  morning. 
(pause)  Yes,  certainly,  four  will  suit  me  admirably. 
(pause)  Sunday?  Why,  yes,  if  you  like.  We  ean 
stop  at  the  Claremont  for  a  highball  and  have  a 
lunch  at  the  Country  Club ;  yes,  we  can  go  out  right 
after  church,  (pause)  My  dear  fellow,  you  couldn't 
beat  me  in  a  thousand  years.  Why,  I  made  the 
eighteen  holes  in  ninety-two  last  week,  (pause) 
For  fifty,  all  right,  you're  on!  (With  a  laugh  he 
bangs  up  receiver  and  goes  to  his  chair  at  deskf  sits 
and  starts  to  work  at  his  mail) 

SARAH,  (as  GILDER  sits)  What  did  they  do  to 
the  Turner  girl? 

MR.  GILDER,  (impatiently  and  going  on  sorting 
the  mail)  I  don't  know.  I  couldn't  wait.  I  don't 
see  why  Judge  Lawler  bothered  me  about  the  matter. 
He's  the  one  to  impose  sentence,  not  me.  I'm  hours 
behind  with  my  work  now,  and  I  had  to  stop  on  my 
way  and  talk  for  nearly  an  hour  with  old  Cushing. 


8  WITHIN    THE    LAW 

Sarah,  he's  getting  more  fussy  every  year.  Sarah ! 
(SARAH  crosses  quickly  to  i,.  of  desk,  GILDER  handing 
her  a  pile  of  opened  letters)  Give  these  to  Smith  to 
attend  to.  (handing  her  another  pile  of  mail) 
These  go  to  Osgood.  (  GILDER  picks  up  another  pile 
of  letters  and  looking  through  them  hurriedly)  I'll 
reply  to  this  lot  myself  this  afternoon,  (drops  the 
letters  into  letter  basket.  SARAH  starts  door  L.  and 
GILDER  takes  back  one  letter  from  the  basket)  Oh, 
Sarah.  (SARAH  stops)  Take  this  before  I  forget 
it.  (SARAH  comes  back  to  the  desk,  seats  herself  in 
chair  L.  and  picks  up  her  notebook  and  pencil,  taking 
MR.  GILDER'S  dictation)  "Mr.  Gilden,  Editor  New 
York  Herald — Dear  Sir:  Enclosed  please  find  my 
check  for  one  thousand  dollars  for  your  Free  Ice 
Fund.  It's  going  to  be  a  very  hard  summer  for  the 
poor  and  I  hope  by  starting  the  contributions  to  your 
noble  charity  at  this  early  date,  that  you  will  be  able 
to  accomplish  even  more  good  than  ever  before.  Very 
truly  yours."  (to  SARAH)  That's  what  T  usually 
give,  isn't  it,  Sarah? 

SARAH,  (nnthout  looking  up)  That's  what 
you've  given  every  year  for  the  last  ten  years. 

MR.  GILDER,  (settling  back  in  his  chair  with  a 
self -satisfied  air)  Ten  thousand  to  this  one  charity 
alone.  Ah,  it's  splendid  to  be  able  to  help  those  lec-s 
fortunate  than  ourselves ! 

SARAH,  (without  looking  away  from  her  note 
book)  Yes,  sir,  especially  when  we  make  so  much 
we  don't  miss  it. 

GILDEB.  (looking  at  SARAH  rather  sternly)  The 
profits  from  my  store  are  large,  I  admit,  but  I  neither 
smuggle  my  goods,  take  rebates  from  railroads,  con 
spire  against  small  competitors  or  do  any  of  the  dis 
honest  things  that  disgrace  other  lines  of  business. 
As  long  as  I  make  my  profits  honestly,  I'm  honestly 
entitled  to  them,  no  matter  how  large  they  are. 


WITHIN   THE   LAW  9 

SARAH,  (rising  and  starting  towards  door  L.) 
Yes,  sir. 

GILDEE.  Have  the  cashier  send  my  usual  five 
hundred  to  the  Charity  Organization  Society. 
(SARAH  starts  toward  door  L.)  And,  Sarah— 
(SARAH  stops  and  turns.  She  is  just  at  c.)  I  don't 
like  your  remark  about  my  not  missing  the  money  I 
give.  What  difference  does  that  make? 

SARAH,  (at  c.)  Oh,  T  didn't  mean  anything 
wrong,  Mr.  Gilder. 

GILDER.  Just  the  same,  I  don't  like  it.  (SARAH 
crosses  to  door  L.  DEMAREST  enters  at  c.)  Well, 
Demarest?  (as  SARAH  reaches  door  L.,  she  stops  and 
turns) 

DEMAREST.  (at  door  c.)  Judge  Lawler  gave  her 
three  years. 

GILDER.  Three  years?  Good.  Take  this,  Sarah. 
(during  GILDER'S  next  speech.  SARAH  crosses  to  L.  of 
desk  and  stands  with  notebook  open.  DEMAREST 
joes  to  hat  tree  and  hangs  his  hat  up)  Have  Smith- 
son  post  a  copy  of  it  conspicuously  in  all  the  girls' 
dressing  rooms,  and  in  the  reading  room,  lunch  room 
and  assembly  room*  (dictating.  SARAH  takes  the 
Dictation,  while  DEMAREST  comes  down  c.  on  a  level 
ivith  SARAH)  "Mary  Turner,  formerly  employed  in 
this  store,  was  today  sent  to  prison  for  three  years, 
having  been  convicted  of  the  theft  of  goods  valued  at 
over  four  hundred  dollars.  The  management  wishes 
again  to  draw  the  attention  of  its  employees  to  the 
fact  that  honesty  is  always  the  best  policy."  Got  that  ? 

SARAH.     Yes,  sir. 

GILDER.     Take  it  to  Smithson  and  tell  him  I  want 
it  attended  to  immediately. 
SARAH.    Yes,  sir. 


10  WITHIN    THE    LAW 

(SARAH  crosses  to  door  L.  and  exits.  GILDER  opens 
right  top  drawer  of  Ms  desk  wad  takes  out  &  box 
of  cigars,  which  he  offers  to  DEMAREST.) 

GILDER.     Smoke,  Demarest? 

DEMAREST.  (crossing  to  back  of  chair  L.  of  GIL 
DER'S  desk)  No,  thanks. 

GILDER,  (as  he  takes  a  cigar  from  the  box,  returns 
the  box  to  the  drawer  and  tights  the  cigar.  Thought 
fully)  Three  years — three  years.  Well,  that  ought 
to  be  a  warning  to  the  rest  of  the  girls. 

DEMAREST.  (over  Hie  back  of  the  chair  of  GIL 
DER'S  desk)  Funny  tiling,  this  case.  One  of  the 
most  unusual  I  have  seen  since  I  began  practicing 
law. 

GILDER,  (sitting  down  in  his  chair  and  smoking 
cigar)  Very—  (puff)  Sad—  (puff)  ease— 
(puff)  I  call  it. 

DEMAREST.  Very  sad  ca^e !  The  girl  persists  in 
declaring  that  she's?  innocent. 

GILDER..  But  the  stolen  goods  were  found  in  her 
locker — some  of  them  even  in  the  pocket  of  her  coat. 

DEMAREST.  She  says  some  one  must  have  put 
them  there. 

GILDER,  Who,  and  for  what  reason  ?  It's  too  ab 
surd  to  talk  about. 

DEMAREST.  She  says,  as  well,  that  her  record  of 
five  years  in  your  employ  ought  to  count. 

GILDER,  (with  finality)  A  court  of  justice  has 
declared  her  guilty. 

DEMAREST.  Nowadays  we  don't  call  them  courts 
of  justice,  we  call  them  courts  of  law. 

GILDER.  Anyway,  it's  out  of  our  hands.  There's 
nothing  we  can  do. 


WITHIN   THE   LAW  11 

DEMAREST.  (as  he  comes  around  from  the  back 
of  the  chair,  and  sits  in  the  chair  L.  of  GILDER'S 
desk)  Although  I  helped  to  prosecute  the  case,  I 
am  not  proud  of  the  verdict. 

GILDER.    Why? 

DEMAREST.  Because,  in  spite  of  the  evidence,  I'm 
not  sure  she's  guilty. 

GILDER.     But  the  goods  were  found— 

DEMAREST.     (interrupting  him )     I  admit  it. 

GILDER,     (triumphantly)     Then  there  you  are. 

DEMAREST.  (slowly  and  seriously)  Gilder,  she 
wants  to  see  you. 

GILDER.  What's  the  use?  I  can't  have  a  woman 
crying  all  over  the  place  and  begging  for  mercy. 

DEMAREST.  The  girl  isn't  begging  for  mercy. 
She's  a  very  unusual  girl — very  unusual — much  above 
the  average  saleswoman,  both  in  brain  and  education. 
Just  before  the  judge  imposed  sentence  he  asked  her 
if  she  had  anything  to  say — you  know,  the  usual 
form — and  she  surprised  us  all  by  saying  that  she 
had.  You  should  have  waited,  Gilder;  she  made  a 
damn  fine  speech. 

GILDER,  (with  some  eagerness)  Did  she  say  any 
thing  against  me  or  the  store? 

DEMAREST.  Not  a  word ;  she  told  how  her  father 
died  when  she  was  in  high  school  and  how  she  had 
to  earn  her  own  living  since  she  was  sixteen,  and 
how  she  worked  for  you  for  five  years  without  there 
being  a  thing  against  her;  she  said  she'd  never  even 
seen  the  goods  found  in  her  locker,  and  then  asked 
the  judge  if  he  knew  what  it  meant  for  a  girl  to  be 
sent  to  prison  for  three  years  for  something  she 
hadn't  done.  It  took  brains  and  courage  to  do  it,  and 
it  all  rang  true.  I  believe  Lawler  would  have  sus 
pended  the  sentence  if  it  hadn't  been  for  your  talk 
with  him. 


12  WITHIN    THE   LAW 

GILDEH.  (rising)  I  simply  did  my  duty — 
(crossing  around  in  front  of  desk  up  to  sample  table) 
I  didn't  seek  the  interview —  (turning  and  coming 
down  c.)  Judge  Lawler  sent  for  me  and  asked  me 
what  I  thought  about  the  case;  whether  I  thought 
it  would  be  right  to  let  the  girl  go  on  suspended  sen 
tence,  (turning  to  DEMAREST)  I  told  him  frankly 
I  thought  an  example  should  be  made  of  her,  for  the 
sake  of  the  others  who  might  be  tempted  to  steal. 
(takes  stage  down  L.,  then,  turning  to  DEMAREST) 
Property  has  some  rights,  Demarest,  although  it's 
getting  so  nowadays  that  nobody  seems  to  think  so. 
(a  pause,  as  GILDER  smokes  a  puff  or  two  and  crosses 
to  c.)  I  can't  understand  why  the  girl  wants  to 
see  me. 

DEMAREST.  (as  he  rises  and  crosses  to  GILDER, 
c.)  She  said  if  you'd  see  her  for  ten  minutes,  she'd 
tell  you  how  to  stop  the  thefts  in  this  store. 

GILDER,  (triumph)  There  you  are.  She  wants 
to  confess.  It's  the  first  sign  of  decent  feeling  she 
has  shown.  There  may  have  been  others  mixed  up 
in  this  thing. 

DEMAREST.  Pernaps.  Anyway,  it  can  do  no  harm. 
I've  seen  the  district  attorney  and  he's  given  orders 
to  have  her  brought  here  on  her  way  to  Grand  Cen 
tral.  They  are  taking  her  up  to  Auburn.  Better 
have  a  little  talk  with  her.  (as  Demarest  goes  up 
to  hat  tree  and  gets  his  hat,  GILDER  takes  a  step  or 
two  down  L.)  Let  me  know  what  the  girl  tells  you. 
I'm  curious  about  it. 

(Door  at  c.  is  thrown  violently  open  and  DICK  rushes 
in.) 

DICK.  Hello,  Dad!  (DiCK  rushes  down  to  GIL 
DER,  dropping  his  hat  on  sample  table  at  L.  c.  as  he 
passes.  They  embrace) 


WITHIN    THE   LAW  13 

GILDES.  Dick!  (after  the  embrace?,  as  DICK 
draws  lack)  What  brought  yon  back? 

DICK,  (as  lie  steps  back  from  GILDER)  Oh,  I 
just  wanted  to  come  home.  Say,  Dad,  I'm  broke. 
(DEMAREST  comes  slowly  down  c.  with  his  hat  in  his 
hand) 

GILDER.     Poker  on  the  ship? 

DICK.  Nope.  They  hired  Captain  Kidd  and  a 
bunch  of  his  pirates  as  stewards,  and  what  they  did 
to  little  Kichard—  (DiCK  turns  away  from  GILDER 
ow  if  to  cross  to  desk,  and  sees  DEMAREST.  DICK 
puts  out  his  hand  and  they  shake  hands  as  DICK  con 
tinues)  Why,  hello,  Mr.  Demarest.  You're  looking 
fine.  How's  business? 

DEMAREST.     Pretty  good,  Dick,  pretty  good. 

DICK.     Glad  to  hear  it. 

DEMAREST.  (DEMAREST  starts  for  the  door  up  c. 
DICK  crosses  to  upper  end  of  desk  at  R.  c.  and  GILDER 
crosses  below  the  desk  to  his  chair  back  of  it,  and 
sits,  as  he  lays  his  cigar  in  the  ash  tray.  As  DEMA 
REST  goes)  I'll  get  along  now,  Gilder.  (DEMAREST, 
about  to  go  out,  turns  in  the  doorway)  Oh,  come 
down  and  see  me,  Dick,  any  time  you  need  legal 
advice. 

DICK,  (at  the  upper  end  of  the  desk  at  R.  c.  and 
facing  DEMAREST)  I'm  not  going  to  need  any  legal 
advice. 

DEMAREST.     I  hope  not.     Good-bye. 

(Exits  through  door  c.) 

DICK,  (comes  around  to  the  side  of  desk  and  sits 
on  it,  facing  GILDER,  and  pats  his  shoulder)  Well, 
Dad,  how  goes  it? 

GILDER.  Pretty  well,  son.  I'm  glad  to  see  you 
home  again,  my  boy. 

DICK.     And  I'm  glad  to  be  home — to  see  you. 


14  WITHIN   THE   LAW 

GILDER.    Have  a  good  time? 

DICK.  I  had  the  time  of  my  young  life.  I  nearly 
broke  the  bank  at  Monte  Carlo. 

GILDER,     (with  a  laugh)     Oh !  oh ! 

DICK.  Fd  have  done  it,  too — if  my  money  had 
lasted. 

GILDER,  (with  mock  seriousness)  So  thats 
where  it  went? 

DICK.     Yes,  sir. 

GILDER.  Why  didn't  you  cable  me?  (SARAH  en 
ters  door  L.  and  crosses  to  L.  c.) 

DICK,  (sincerely,  and  leaning  across  and  placing 
his  hand  on  his  father's  shoulder)  Because  it  gave 
me  a  good  excuse  for  coming  home. 

SARAH,  (at  L.  c.,  with  notebook  and  pencil)  I 
see  you  found  him. 

GILDER.    Yes. 

DICK,  (off  the  desk,  passes  around  upper  end  of 
it  to  c.,  facing  SARAH)  Sadie,  you're  looking  finer 
than  ever;  and  how  thin  you've  grown! 

SARAH,  (sincerely)  Really!  (as  she  takes 
stage,  down  L.)  ITow  much  do  you  think  I've  lost? 

DICK,  (eyeing  her,  with  a  laugh)  Let  me  see. 
I  should  say  about — two — ounces. 

SARA  PI.  '  (as  she  turns  and  faces  him  with  a  laugh ) 
Oh,  you ! 

DICK.     Y"ou're  not  angry  with  me,  are  you  ? 

SARAH.     Why,  no.     Of  course  not.     Then— 

DICK.  Then  give  me  a  little  kiss.  (DiCK  starts 
towards  SARAH.  SARAH  crosses  in  front  of  DICK 
and  up  towards  door  c.  As  SARAH  passes  DICK,  he 
catches  her  left  arm  and  she  keeps  him  protesting 
and  drawing  closer  to  door  c.  with  DICK  trying  to 
draw  her  to  him)  Oh,  come  on,  Sadie.  (GILDER 
rises  and  comes  up  above  his  deslc  towards  DICK  and 
SARAH) 

SARAH.    No,  no,  please,  Mr.  Dick. 


WITHIN    THE    LAW  15 

DICK.     Just  to  show  there's  no  ill-feeling. 

SARAH.     Oh,  please  stop,  Mr.  Dick. 

GILDER,  (as  he  takes  DICK'S  right  arm,  and  starts 
him  walking  down  stage.  DICK  releases  SARAH,  who 
exits  at  c.)  Now,  Dick.  That  will  do.  Why, 
you're  making  Sarah  blush! 

DICK.  A  little  kiss  never  hurts  anyone.  Here, 
I'll  show  you.  (DiCK  suddenly  throws  his  right  arm 
around  GILDER'S  neck,  who  is  facing  down  stage  and 
kisses  his  left  cheek  and  then  quickly  takes  a  step 
from  GILDER) 

GILDER,  (in  surprise,  as  he  rubs  his  cheek. 
Quickly)  God  bless  my  soul!  (thoughtfully) 
Why,  I  don't  believe  you've  kissed  me  since  you  were 
t  little  boy !  God  bless  my  soul. 

DICK,  (going  to  GILDER  and  putting  his  right 
arm  around  GILDER'S  shoulder,  with  his  right  hand 
on  GILDER'S  right  shoulder)  I'm  awfully  glad  to 
see  you  again,  Dad. 

GILDER,  (affectionately,  and  as  he  reaches  up  his 
left  hand  and  puts  it  on  DICK'S  right)  Are  you, 
son?  (then  quickly  changes  his  manner,  pushes 
DICK  aivay  from  him  in  mock  seriousness)  You 
chase  out  of  here!  (as  GILDER  starts  to  go  around 
to  Iris  desk  and  DICK  starts  up  for  his  suitcase)  I'm 
a  hard-working  man.  (as  GILDER  stops  and  puts  his 
hand  in  his  pocket)  Wait  a  minute.  Here  it  is. 
(DiCK  stops  and  turns  at  center)  Here's  some  car 
fare  for  you.  (  GILDER  takes  out  a  roll  of  hills,  takes 
off  a  couple  and  with  his  left  hand  offers  them  to 
DICK.  DICK  conies  down  stage  to  his  father's  side, 
reaches  across  GILDER,  and  takes  the  big  roll  of 
money  out  of  GILDER'S  right  hand) 

DICK.     Thanks.      (GILDER     laughs    and    passes 

around  the  lower  end  of  his  desk  and  sits.     DICK 

takes  a  step  or  two  up  c.  and  watches  GILDER  and  as 

GILDER  sits)     You  can  always  get  rid  of  me  on  the 

2 


16  WITHIN    THE    LAW 

same  terms.  (  GILDER  starts  to  work  on  his  mail,  and 
DICK  goes  quickly  up  and  gets  his  suit-case  from 
-under  sample  table  and,  as  he  is  going  to  the  door  c.) 
See  you  later.  (Dies,  about  to  go  out,  stops  and 
turns  to  GILDER)  Oh,  Dad,  for  the  love  of  heaven, 
give  Sadie  five  dollars.  I  just  borrowed  it  from  her 
to  pay  for  the  taxi. 

(DICK  exit*  quickly  through  c.     GILDER  chuckles  at 
his  desk  and  goes  back  to  his  work.) 

GrLDivH.  (to  himself)  Finest  boy  in  the  world— 
that's  all.  (picks  up  his  cigar.  As  SMITHSON  en 
ters  L.  and  quickly  crosses  to  the  L.  of  GILDER'S  desk, 
GILDER  just  looks  up  and  sees  who  it  is  and  goes  on 
with  his  work  as  he  speaks)  Well,  Smithson,  what 
is  it? 

SMITHSOX.  McCracken,  the  store  detective,  has 
detained  a  lady,  sir.  She's  been  searched  and  we 
have  found  about  a  hundred  dollars'  worth  of  lace  on 
her. 

GILDER,     (without  looking  up)     Well? 

SMITHSON.  I  thought  it  better  to  bring  the  mat 
ter  to  your  attention,  sir. 

GILDER.  Not  at  all  necessary,  Smithson.  You 
know  my  views  on  the  subject  of  property.  Tell  Mc 
Cracken  to  have  the  thief  arrested. 

SMITHSON.     She's  not  exactly  a  thief,  Mr.  Gilder. 

GILPKR.  (looking  up  in  surprise]  Not  a  thief? 
In  heaven's  name,  what  would  you  call  her? 

SMITHSOX.  I'd  call  her  a  kleptomaniac,  sir.  You 
see,  the  lady  happens  to  be  Iho  wife  of  J.  W.  Gas- 
kell. 

GILDER.  GMskcll?  Gaskoll?  President  of  the 
Centra  I  N  a  t  i  o  ria  1  Bank  ? 

SMITHSOX.     Yes,  sir. 


WITHIN   THE    LAW  17 

GILDER.  That's  very  awkward,  (pause)  You 
were  quite  right  in  coming  to  me.  (pause,  as  GILDER 
stops  and  thinks)  Of  course,  there's  nothing  we  can 
do.  Put  the  stuff  back  on  the  counter  and  let  her  go. 
(returns  to  his  work) 

SMITHSON.  She's  very  angry,  sir,  she  demands 
an  apology. 

GILDER,  (irritable  and  without  raising  his  head) 
Well,  apologize  to  her. 

SMITHSON.     (coming  to  door  L.)     Yes,  sir. 

GILDER,  (pause,  until  SMITHSON  gets  to  door  L.) 
And — er — Smithson —  (SMITHSON  stops  at  door 
and  turns  to  GILDER.  GILDER  presses  button  as  he 
looks  at  SMITHSON  and  continues)  I'll  take  it  as  a 
personal  favor,  if  you  will  tactfully  advise  the  lady 
that  the  goods  at  Stern's  and  Altaian's  are  even  finer 
than  ours. 

SMITHSON.     (with  a  knowing  smile)     Yes,   sir. 
Ill  see  what  I  can  do,  Mr.  Gilder. 
(Exits  L.     SARAH  enters  up  c.  door  with  notebook 
and  pencil.) 

GILDER,  (as  SARAH  enters,  up  c.  door)  Now 
then,  Sarah.  (SARAH  comes  down  quickly  to  chair 
L.  of  GILDER'S  desk  and  takes  GILDER'S  dictation  in 
shorthand  notes.  GILDER  dictating)  "J.  W.  Gas- 
kell,  Central  National  Bank,  New  York.  My  dear 
Mr.  Gaskell.  I  feel  that  I  shall  be  doing  less  than 
my  duty  as  a  man  if  I  did  not  let  you  know  that 
Mrs.  Gaskell  is  in  urgent  need  of  medical  attention. 
She  came  into  our  store  today  and—  No,  wait  a 
minute,  put  it  this  way:  (SARAH  scratches  out  a 
mark  or  two)  "We  found  her  wandering  about  our 
store  today  in  a  very  nervous  condition.  In  her  ex 
citement  she  carried  away  about  a  hundred  dollars' 
worth  of  lace.  Not  recognizing  her,  our  store  de 
tective  arrested  her."  No — no — make^that  "detained 


18  WITHIN"    THE    LAW 

her  for  a  short  time.''  (SAEAH  scratches  out  a  note 
or  two  in  her  book)  "Fortunately  for  us  all,  Mrs. 
Gaskell  was  able  to  explain  who  she  was,  and  she  has 
just  gone  to  her  home.  Hoping  for  your  wife's 
speedy  recovery  and  with  all  good  wishes,  I  remain, 
Yours  very  truly,—  (to  SAB  AH)  Sarah,  I  can't 
understand  the  theft—it's  entirely  beyond  my  com 
prehension.  (SMITHSOX  enters  door  L.  and  advances 
a  few  steps  inside  the  door  and  above  it)  Now, 
Smithson,  what  is  it? 

SMITHSON.     Mrs.  Gaskell  wants  you  to  apologize 
to  her. 

GILDER,  (rising  and  stepping  to  lower  end  of  his 
desk)  What? 

SMITHSOX.  And  she  wants  the  store  detective  dis 
charged. 

GILDER,     (crossing  to  c.)     Discharge  McCracken? 
SMITHSON.     She  seems  slightly  hysterical,  sir. 
GILDEE.     (crossing  to  door  L.)     Well,  I'll  apolo 
gize  to  her;  but  I'll  be  damned  if  I  discharge  Mc 
Cracken. 

(  GILDEE  exits  L.,  followed  by  SMITHSOX,  who  closes 
the  door.     SARAH  laughingly  rises  and  crosses 
to  upper  right  corner  of  sample  table,  fixing  up 
a  sample  and  examining  it.     As  SAEAH  picks  up 
sample  the  door  at  L.  opens  and  HELEN  enters 
quietly.     She  glances  at  SAEAH,  and  as  she  turns 
to  close  the  door,  looks  off  stage  and  speaks.) 
HELEX.     Sadie!     (HELEN,   receiving   no   answer, 
turns  and  crosses  quickly  up  to  L.  of  table  and  ap 
pears  nervous)     Sadie!! 

SARAH,  (as  she  sees  who  it  is)  Now  what  do  you 
want? 

HELEN,  (with  forced  calm)  I  just  saw  the  boes 
go  out.  (anxiously)  What  did  they  do  to  Mary 
Turner? 


WITHIN   THE   LAW  19 

SARAH.  (05  she  crosses  to  L.  of  GILDER'S  desk, 
with  her  lack  to  HELEN)  You'll  know  soon 
enough. 

HELEN",  (as  she  starts  to  cross  to  SARAH  and 
gets  as  far  as  the  chair  in  front  of  sample  table) 
Tell  me  now. 

SARAH,     (without    turning)     They   sent   her   to 
prison  for  three  years. 
HELEN.    Three  years? 
SARAH.    Yes. 

HELEN,  (as  she  turns  a  step  backwards,  and  turn 
ing  so  that  she  faces  front)  Good  God ! 

SARAH,  (as  she  turns  and  crosses  to  HELEN)  See 
here.,  what  are  you  so  anxious  about  it  for?  This  is 
the  third  time  you've  asked  me  about  Mary  Turner 
today.  What  is  it  to  you?  (during  SARAH'S  speech 
HELEN  shows  she  is  trying  to  recover  her  self-con 
trol) 

HELEN,  (without  looking  at  SARAH)  Nothing — 
nothing  at  all — only  she's  a  friend  of  mine,  a  great 
friend. — Three  years!  (turning  and  talcing  a  step 
toward  door  L.)  I  didn't  understand —  (another 
step  toward  door)  It's  awful,  (another  step)  It's 
awful. 

(Exits  through  door  L.     As  HELEN  goes  out,  SARAH 
watches  her  with  a  puzzled  look,  then  turning 
crosses  to  GILDER'S  desk,  she  pushes  the  chair 
L.  of  the  desk  down  stage  to  the  lower  end  of 
desk.    Just  as  SARAH  reaches  desk,  several  firm, 
hard  knocks  are  heard  at  the  door  up  c.) 
SARAH,     (as  she  picks  up  a  letter  from  the  desk 
and,  without  turning,  says)     Come  in. 
(The  door  is  opened  by  CASSIDY,  and  MARY  TURNER 
is  discovered  in  the  doorway,  head  hanging  and 
handcuffs  attached  to  her  left  wrist.     On  her 
left  hand,  and  holding  the  other  end  of  the  hand 
cuff,   is    CASSIDY.     They   slowly   enter   MARY, 


20  WITHIN    THE    LAW 

slightly  in  front.     CASSIDY   closes  door  after 
ward.     Then  they  slowly  come  down  c.  and  are 
on  a  line  with  the  middle  of  GILDER'S  desk.     At 
CASSIDY'S  first  word,   SARAH   turns  and  faces 
them.    CASSIDY  speaks  as  they  come  to  a  stop,  c.) 
CASSIDY.     The  district  attorney  told  me  to  bring 
this  girl  here  on  my  way  to  Grand  Central. 

SARAH,  (to  CASSIDY)  Mr.  Gilder  will  be  right 
back,  (crossing  to  MARY,  and  taking  her  right  hand 
impulsively}  I'm  terribly  sorry,  Mary,  terribly 
sorry. 

MARY,  (dully}  Are  you?  Nobody's  been  near 
me  the  whole  time  I've  been  in  the  Tombs.  No 
body's  been  near  me. 

SARAH,  (as  she  drops  MARY'S  hand}  Helen  Mor 
ris  was  just  asking  about  you.  She's  all  broke  up. 

MARY.  Who's  Helen  Morris?  I  don't  know  her. 
Why  should  she  care? 

SARAH.  Why,  she  said  she  was  a  friend  of  yours, 
and — 

(  GILDER  enters,  L.,  smoking  his  cigar  and  starts  to 
cross  to  his  desk.  As  he  sees  the  group,  he 
pauses,  takes  the  cigar  from  his  mouth,  then  to 
SARAH.) 

GILDER.     You  may  go,  Sarah. 
SARAH.     Yes,  sir ! 

(Up  to  door  c.  and  exits.  GILDER  looks  at  MARY  a 
minute,  and  as  she  returns  the  look,  GILDER 
crosses  over  to  the  lower  R.  corner  of  his  desk, 
stops  and  turns  to  MARY,  speaking.  MARY  has 
followed  him  with  her  eyes.} 

GILDER.     I  am  very  sorry  about  this,  my  girl. 

MARY.     You  should  be. 

GILDER.     Come,  come,  that's  no  tone  to  take ! 


WITHIN    THE   LAW  21 

MARY.     What  did  you  expect? 

GILDER.  A  decent  amount  of  humility  from  one 
in  your  position. 

MARY.  Would  you  be  humble  if  you  were  being 
sent  to  prison  for  three  years  for  something  you 
didn't  do? 

CASSIDY.  Don't  mind  her,  Mr.  Gilder,  they  all 
talk  like  that — it  don't  do  them  no  good,  but  they 
all  swear  their  innocence  to  the  very  last — no  matter 
how  right  we  got  'em.  Not  guilty?  Huh!  Why, 
she  tried  to  make  a  get-away  comin'  uptown  this 
mornin'.  Sure.  That's  why  she's  wearing  these. 
(just  indicating  handcuffs) 

MARY.     I  tell  you,  I  didn't  do  it. 

GILDER.  What's  the  use  of  all  this  pretence  ?  You 
were  given  a  fair  trial. 

MARY.  Oh,  no,  I  wasn't.  If  it  had  been  fair,  I 
shouldn't  be  here. 

CASSIDY.     That's  another  thing  they  all  say. 

MARY.  Do  you  call  it  fair  when  the  only  lawyer 
I  had  was  a  boy  the  court  told  me  to  take, — a  boy 
trying  his  first  case — getting  experience,  they  call  it — 
yes,  getting  it  at  my  expense ! 

GILDER.     The  jury  found  you  guilty. 

MARY.  Because  they  had  been  out  for  three  hours 
acd  the  judge  threatened  to  lock  them  up  all  night! 
The  men  were  tired  and  wanted  to  get  home,  and 
the  easy  thing  to  do  was  to  find  me  guilty  and  let  it 
go  at  that.  Was  that  fair  ?  Was  it  fair  for  you  to 
come  down  to  the  court  this  morning  and  tell  the 
judge  that  I  ought  to  be  sent  to  prison  as  a  warning 
to  the  others? 

GILDER.     You  mean— 

MARY.  Oh  !  1  heard  you.  It  wasn't,  did  I  do  it, 
or  didn't  I  do  it?  It  was  to  be  a  warning  to  the 
others,  (a  pause.  MARY  sobs  softly)  Mr.  Gilder — 


22  WITHIN    THE    LAW 

(crossing  half-way  toward  Gilder)  As  God  is  my 
judge,  yon  are  sending  me  to  prison  for  three  years 
for  "something  I  didn't  do.  (a  pause,  plaintively) 
Why  did  you  ask  the  judge  to  send  me  to  prison  ? 

GILDER.  The  thieving  that  has  been  going  on  in 
this  store  for  over  a  year  has  got  to  stop. 

MARY.     Sending  me  to  prison  won't  stop  it. 

GILDER.  Perhaps  not ;  but  the  discovery  and  pun 
ishment  of  the  other  guilty  ones  will!  Now,  you 
sent  me  word  that  you  could  tell  me  how  to  stop  the 
thefts  here.  Do  this,  and  while  I  can  make  you  no 
definite  promises,  I  will  see  what  can  be  done  about 
getting  you  out  of  your  present  difficulty.  (  GILDER 
moves  around  the  cortoer  of  his  desk  as  he  continues) 
Come  now,  tell  me,  who  were  your  accomplices  ? 

MARY,  (losing  control  of  herself)  I  have  no  ac 
complices  !  I  never  stole  anything  in  my  life  !  Must 
I  go  on  telling  you  over  and  over  again  ?  Why  won't 
anyone  believe  me  ? 

GILDER,  (pause,  as  GILDER  moves  to  back  corner 
of  desk;  then  sternly  and  shariply)  Unless  you  con 
trol  yourself  you  must  go.  (softening)  Why  did 
you  send  me  that  message  if  you  have  nothing  to  tell 
me? 

MARY,  (pause,  as  she  regains  her  self-control)  I 
have  some  things  to  tell  you,  only  I — sort  of  lost  my 
grip,  walking  through  the  streets  with  this  man  by 
my  side. 

CASSIDY.     Most  of  them  do — the  first  time. 

GILDER.    Well? 

MARY.  Well,  when  you  sit  in  a  cell  for  three 
months  waiting  trial  like  I  did,  and  then  for  another 
month  wondering  what  your  sentence  is  going  to  be, 
you  think  a  lot,  so  I  got  the  idea  if  I  could  talk  to 
you,  I  might  be  able  to  make  you  understand  what's 


WITHIN    THE    LAW  33 

really  wrong.  And  if  I  could  do  that  and  so  help  out 
the  other  girls,  what's  happened  to  me  wouldn't  be 
quite  so  awful,  (pleadingly  and  slowly  crossing  to 
GILDER'S  desk,  CASSIDY  -following)  Mr.  Gilder,  do 
you  really  want  to  stop  the  girls  from  stealing? 

GILDER.     Most  certainly  I  do. 

MARY.     Then  give  them  a  fair  chance. 

GILDER.    What  do  you  mean? 

MAEY.     Give  them  a  living  chance  to  be  honest. 

GILDER.     A  living  chance  ? 

MARY.  A  living  chance  to  get  enough  food  to  eat 
and  a  decent  room  to  sleep  in,  and  shoes  that  will 
keep  their  feet  off  the  sidewalks  on  winter  mornings. 
Do  you  think  any  girl  wants  to  steal  ?  Do  you  think 
she  wants  to  risk — ? 

GILDER.  So,  this  is  what  you're  taking  my  time  up 
for  ?  To  make  a  maudlin  plea  for  a  lot  of  dishonest 
girls  when  I  thought  you  were  bringing  me  facts ! 

MARY,  (pause,  as  MARY  straightens  up  and  takes 
a  step  back  from  the  desk,  then  in  a  low  clear  tone) 
We  work  nine  hours  a  day  for  six  dollars  a  week. 
That's  a  fact,  isn't  it?  And  an  honest  girl  can't 
live  decently  on  six  dollars  a  week — and  buy  food 
and  clothes  and  pay  room-rent  and  car-fare,  thaf s 
another  fact,  isn't  it? 

GILDER,  (as  he  sits  at  his  desk  and  starts  to  at 
tend  to  his  mail)  I  don't  care  to  discuss  these 
things. 

MARY,  (moving  up  close  to  the  desk, — plead 
ingly)  And  I  don't  want  to  discuss  anything,  I 
only  want  to  give  you  what  you  ask  for — facts. 
(pause)  When  they  first  locked  me  up  I  just  sat 
and  hated  you. 

GILDER.    Of  course. 


24  WITHIN    THE   LAW 

MARY.  And  then  I  thought  perhaps  you  didn't 
understand,  and  if  I  told  you  how  things  really  are, 
maybe  you'd  change  them  somehow. 

GILDER,  (looking  up  at  MARY  in  amazement) 
Change  my  business  policy  because  you  ask  me? 

MARY,  (pleadingly)  Do  you  know  how  we  girls 
live?  Of  course,  you  don't.  (GILDER  stops  work 
and  sits  back  in  his  chair  showing  his  annoyance) 
Three  of  us  in  one  room  doing  our  own  cooking  over 
a  two-burner  gas  stove,  and  our  own  washing  and 
ironing  evenings — after  being  on  our  feet  for  nine 
hours. 

GILDER.  I  have  provided  chairs  behind  the 
counters. 

MARY.  But  have  you  ever  seen  a  girl  sit  on  one 
of  them?  ( GILDER  turns  away)  Well,  have  you? 
Of  course  not,  because  she  knows  the  manager  of  the 
department  would  think  he  could  get  along  without 
her,  and  she'd  be  discharged.  And  so,  after  being 
on  her  feet  for  nine  hours,  the  girl  walks  home,  to 
save  car-fare — walks  whether  she's  sick  or  whether 
she's  well — and  you're  generally  so  tired  that  it 
don't  make  much  difference  which  you  are. 

GILDER.     What  has  that  got  to  do  with  — ? 

MARY.  And  when  you're  real  sick  and  have  to 
stop  work,  what  are  you  going  to  do  then?  (pause) 
Do  you  know  that  the  first  time  an  honest  girl  steals, 
it's  often  because  she  needs  a  doctor  or  some  luxury 
like  that?  And  some  of  them  do  worse  than  steal; 
and  they  started  straight,  too,  and  wanted  to  stay 
that  way.  Some  get  so  tired  of  the  whole  grind 
that  — 

GILDER,  (rising  and  interrupting  her  sharply) 
I'm  not  their  guardian.  I  can't  watch  over  them 
after  they  leave  the  store.  They  are  paid  the  current 
rate  of  wages,  as  much  as  any  other  store  pays. 


WITHIN   THE   LAW  23 

MAEY.    Yes,  I  know  that,  Mr.  Gilder,  but— 

GILDER,  (virtuously  indignant)  No  man  living 
does  more  for  his  employees  than  I  do!  Who  gave 
the  girls  the  fine  rest-room  upstairs?  I  did.  Who 
gave  them  the  cheap  lunch-room  ?  I  did. 

MARY.     But  you  won't  pay  them  enough  to  live  on. 

GILDER.     I  pay  the  same  as  other  stores. 

MARY,  (slower  and  with  more  weight  than  the 
first  time)  But  you  won't  pay  them  enough  to  live 
on. 

GILDER.  So  that's  the  plea  you  make  for  yourself 
and  your  friends,  that  you  are  forced  to  steal ! 

MARY,  (leaning  across  GILDER'S  desk)  I  wasn't 
forced  to  steal  and  I  didn't  steal!  But  that's  the 
plea,  as  you  call  it,  that  I'm  making  for  the  other 
girls.  There  are  hundreds  of  them  stealing  or  going 
on  the  streets  because  they  don't  get  enough  to  eat. 
You  asked  me  to  tell  you  how  to  stop  the  thefts ;  well 
I've  done  it.  Give  the  girls  a  living  chance  to  be 
honest.  You  asked  me  for  names — there's  only  one 
name  I  know  of  to  put  the  blame  for  the  whole  busi 
ness  on — Edward  Gilder ! 

GILDER,     (indignantly)     What ! 

MARY,  (pleadingly)  Now  won't  you  do  some 
thing  about  it? 

GILDER.     How  dare  you  talk  to  me  like  this? 

MARY.     Won't  you  do  something  about  it? 

GILDER.    How  dare  you? 

MARY,  (as  she  'backs  to  center)  Why  not? 
You've  done  all  the  harm  you  can  to  me.  I'm  try 
ing  to  give  you  a  chance  to  be — to  do  better  by  the 
others.  You  ask  me  how  I  dare?  I've  been  straight 
all  my  life.  I've  wanted  decent  food  and  warm 
clothes,  and  a  little  happiness,  all  the  time  I've 


26  WITHIN   THE   LAW 

worked  for  you,  and  I've  gone  without  them  to  stay 
straight,  and  now  you're  sending  me  to  prison  for 
three  years  for  something  I  didn't  do ! 

GILDER.     Take  her  away,  officer. 
MARY.     That's  why  I  dare ! 

GILDER.  Take  her  away.  (CASSIDY  draws  MARY 
two  or  three  steps  toward  center) 

MARY.  Oh,  he  can  take  me  now.  Three  years 
isn't  forever  and  when  I  come  out  you're  going  to  pay 
me  for  every  minute  of  them.  There  won't  be  a  day 
or  an  hour  that  I  won't  remember  that  it  was  your 
word  at  the  last  that  sent  me  to  prison,  and  you're 
going  to  pay  me  for  that,  you're  going  to  pay  me  for 
the  five  years  I've  starved  making  money  for  you — • 
you're  going  to  pay  me  for  everything  I'm  losing 
today — (CASSIDY  shakes  the'  handcuffs  and  starts 
toward  door  center.  MARY  takes  a  step  or  two  down 
center,  sticking  her  hand  out  and  dragging  that  of 
CASSIDY  with  it,  showing  the  handcuffs) — and  you're 
going  to  pay  me  for  this — you're  going  to  pay — you're 
going  to — ! 

CURTAIN 


ACT  II 

TIME: — Four  years  later — Spring. 

SCENE: — Room  in  MARY  TURNER'S  apartment  in 
Gramercy  Square.  It  is  a  well  furnished  room 
with  a  door  down  left,  leading  into  MARY'S  bed 
room.  Another  door  up  left  center  leading  into 
a  hall,  and  a  door  up  right  leading  into  another 
hall.  Up  left  is  a  bay-iuindow,  and  up  right  is 
a  fireplace. 

LIGHTS  : — The  sunlight  is  coming  in  through  the  bay 
window,  and  the  stage  is  bright.  There  is 
plenty  of  light  coming  in  at  all  of  the  doors  as 
they  are  opened. 

AT  RISE: — AGNES  enters  through  the  door  at  up 
right-center  with  a  vase  of  buttercups  in  her 
hand.  She  closes  the  doors  and  as  she  comes 
down  stage  glances  otfer  towards  MARY'S  room 
at  left,  the  door  of  which  is  open.  She  comes 
down  stage  to  the  right  of  the  trick  table  and 
places  the  vase  of  buttercups  on  the  table,  picks 
up  a  magazine  from  the  table,  passes  around  the 
table  to  the  chair  left  of  it,  and  as  she  sits,  she 


AGNES.     What  are  you  doin'  Mary,  dolling  up? 

MARY,     (of  stage  left,  in  room,  the  door  of  which 
is  opened)      I've  an  important  engagement. 

AGNES,     (as  she  reads  her  magazine)     Are  you 
goin'  out  again  with  that  young  Gilder? 

27 


88  WITHIN   THE   LAW 

MARY.     Yes. 

AGNES.  Nice  boy,  isn't  he?  (starts  to  read 
magazine) 

MARY.     I  suppose  so. 

AGNES,  (looking  up  towards  MABY'S  door. 
Sharply.)  Suppose  so?  He's  here  so  much  we 
ought  to  be  charging  him  for  his  meals — and  you 
don't  know  whether  he's  the  goods  or  not.  (Returns 
to  reading  magazine) 

MARY,  (as  she  enters  from  room  left,  dressed  fop 
the  street,  crosses  back  of  table  left  to  right  of  it  and 
continues  putting  on  her  gloves)  I  know  he's  the 
son  of  Edward  Gilder  and  that's  enough  for  me. 

AGNES,  (turning  in  her  chair  toward  Mary)  I 
can't  get  you,  Mary.  You  never  looked  at  a  man — 
why,  from  the  way  you  acted  when  I  first  ran  into 
you  after  we  left  Auburn  prison,  I  thought  you'd 
become  a  suffragette,  and  then  you  meet  young 
Gilder, — and — good-night,  nurse !  (returns  to  read 
ing  magazine) 

MAEY.     Well  ? 

AGNES,  (turning  to  MARY,  sharply)  His  old 
man  sends  you  up  for  a  stretch  for  something  you 
didn't  do  and  you  take  up  with  his  son  like — 

MARY.     Yes,  perhaps  that's  the  reason. 

AGNES.  Gee,  I'm  getting  wise,  (looking  back  to 
her  magazine) 

MARY.  Agnes,  whatever  there  is  between  young 
Gilder  and  me  is  my  affair.  I  don't  want  to  talk 
about  it  but — I  do  want  to  know  what  you  were  doing 
with  that  pickpocket  yesterday.  (AGNES  turns  to 
MARY  as  if  about  to  speak)  Oh,  I  saw  you.  (AGNES 
sheepishly  returns  to  reading  her  magazine)  Joe 
Garson  told  me  who  he  was.  A  common  pickpocket. 


WITHIN    THE   LAW  29 

AGNES,  (looking  up  quickly)  Common?  (then 
turning  to  MARY)  He's  the  best  dip  in  the  business. 
I  guess  Fve  got  a  right  to  speak  to  my  own  brother 
if  I  want  to.  (turning  lack  again  to  read  her 
magazine) 

MARY.  Oh,  your  brother.  What  did  he  want, 
money? 

AGNES.  (turning  to  MARY)  Nix.  Business 
is  immense.  This  has  been  a  great  year  for  crooks. 
(back  to  reading  magazine) 

MARY.  How  can  it  be?  With  the  dead  line  at 
John  Street  and— 

AGNES,  (turning  to  MARY)  Dead  line?  Wake 
up.  my  dear.  Why,  Jim  takes  lunch  every  day  at  the 
Wall  Street  Delmonico's.  Yes,  and  he  went  down  to 
Police  Headquarters  yesterday.  (laugh)  Say, 
thv?y've  got  a  mat  at  the  front  door  with  "Welcome" 
on  it  in  letters  three  feet  high,  (pauses  as  AGNES 
laughs)  He  lifted  a  leather  from  a  bull  that  was 
standing  in  the  hallway,  (back  to  reading  magazine) 

MARY.  It's  no  use,  Agnes.  I  can't  remember 
your  slang.  What  did  he  do? 

AGNES,  (still  reading  magazine)  He  copped  the 
coppers  kale. 

MARY.     He  what? 

AGNES,  (turning  to  Mary  and  with  a  great  deal 
of  emphasis  and  in  her  ladylike  manner)  He  gently 
removed  a  leather  wallet  containing  a  large  sum  of 
money  from  the  coat  pocket  of  a  member  of  the  de 
tective  force,  (naturally)  Say,  he  says  Inspector 
Burke  got  a  gold  watch  that  weighs  a  ton,  all  set 
with  diamonds.  It  was  gave  to  him  by  admiring 
friends,  (goes  back  to  reading) 

MARY.     Given,  now,  Agnes,  please:  given. 

AGNES,  (looking  up  in  surprise)  What  differ 
ence  does  that  make,  he's  got  it.  (turning  to  MARY) 


30  WITHIN    THE   LAW 

When  I  get  time  I'm  going  after  that  watch,     (back 
to  reading  magazine) 

MARY.  Oh,  no,  you're  not.  (AGNES  looks  up) 
As  long  as  you're  working  with  us  you'll  break  no 
laws. 

AGNES,     (turning  to  MARY)     But  I  can't  see—? 

MARY.  Now  Agnes,  when  you  worked  alone,  did 
you  have  a  home  like  this  ? 

AGNES,     (as  she  looks  around  the  room)     No. 

MARY.  Or  good  clothes,  or  proper  food,  or  safety 
from  the  police? 

AGNES.     No,  but  I  can't  see— 

MARY,  (crossing  to  center)  Agnes,  the  richest 
men  in  this  country  have  made  their  fortunes  not 
because  of  the  law,  but  in  spite  of  it.  They  made 
up  their  minds  what  they  wanted  to  do  and  they 
engaged  lawyers  clever  enough  to  show  them  how 
they  could  do  it  and  still  stay  inside  the  law.  Any 
one  with  brains  can  get  rich  in  this  country  if  he'll 
engage  the  right  lawyer.  I  have  the  brains,  and  my 
attorney,  Harris,  is  showing  me  the  law — the  won 
derful  twisted  law  that  was'  made  for  the  rich.  As 
Ions:  as  we  keep  inside  the  law  we're  safe. 

AGNES,  (taking  her  magazine  with  her,  rising 
f/nd  crossing  to  MARY)  Gee,  that's  funny,  yon  and 
mo  and  Joe  Garson  handin'  it  to  'em  right  and  left 
and  the  bulls  can't  touch  us.  The  next  you  know 
Harris  will  be  havin'  us  incorporated  as  the  American 
Le^al  Crime  Co. 

MAKY.  (with  her  arm  around  AGNES'  shoulder) 
I  shouldn't  be  in  the  least  surprised,  (phone  rings. 
Both  look  toward  phone,  then  MARY  crosses  to  phone 
to  answer  it  and  AGNES  crosses  down  right  with  her 
magazine  and  sits  and  starts  reading.  MARY  at  the 
upper  side  of  table,  down  left,  answers  the  phone  at 
she  stands  facing  the  front)  Hello,  (tenderly) 


WITHIN   THE   LAW  31 

Oh,  Dick,  (pause)  Yes,  Fm  ready,  (pause)  I 
understand, — why  it's  just  around  the  corner  from 
hero.  I  won't  be  five  minutes.  By  the  way,  I  read 
the  papers  very  carefully  this  morning.  I  didn't 
see  anything  about  our  going  down  there  together, 
did  you?  (pause)  I  thought  of  course,  when  you 
mentioned  your  father's  name  it  was  bound  to  come 
out.  (pause.  Strong  and  hard)  Oh,  I  see.  It's 
wonderful  what  money  will  do,  isn't  it?  (pause. 
Lovingly)  Do  you  suppose,  if  I  didn't  care  for  you 
I'd  be  coming  to  you  now?  (pause)  No,  please, 
stay  where  you  are.  I  really  won't  be  five  minutes. 
(MARY  hangs  up  receiver) 

AGNES,  (looking  up  from  magazine)  Say,  what's 
all  this? 

MAEY.  Secrets,  Agnes,  secrets,  (starting  toward 
door  up  left  center)  I  shan't  be  gone  ovier — (GAR- 
SON  enters  up  left  center  and  steps  in,  to  MARY'S 
right,  and  removes  his  hat)  Oh,  good-morning,  Joe. 

G  ARSON.     Good-morning. 

MARY.     You're  around  early? 

G ARSON.     Oh,  a  little  bit.     Going  out? 

AGNES.  No,  she's  putting  in  a  ton  of  coal. 
(MARY  and  JOE  both  laugh) 

MAEY.  Wait  for  me,  Joe.  I  shan't  be  gone  more 
than  ten  or  fifteen  minutes.  (MARY  exits  up  left 
center.  GARSON  turns  and  drops  his  hat  on  couch  up 
center,  and  crosses  down  right  toward  AGNES  as  far 
as  the  trick  table.  AGNES  is  seated  in  the  chair  down 
right  reading  her  magazine) 

GARSON.     Where's  she  going  ? 

AGNES,  (without  looking  up)  Had  a  date  with 
young  Gilder. 

GARSON.  M'm.  She's  been  with  him  a  good  deal 
lately. 

AGNES.     That's  what, 
s 


32  WITHIN    THE   LAW 

GARSON.    Think  she's  stuck  on  him? 

AGNES,  (looking  up  at  GARSON)  Why  not? 
Bet  your  life  I'd  be  if  I  had  the  chance.  (GAR80N 
turns  and  crosses  to  chair  right  of  table  at  left  center f 
sits  and  picks  up  magazine  from  table)  He's  one 
swell  boy  and  entirely  surrounded  by  money,  (pause. 
G  ARSON'S  manner  shows  that  he's  uneasy)  Say,  Joe, 
if  there's  anything  on  your  mind,  shoot  it. 

GAESON.     It's  Mary  and  young  Gilder. 

AGNES.     Well? 

GARSON.     Well,  I  can't  see  any  good  in  it  for  her. 

AGNES.     Why? 

GARSON.  Old  man  Gilder's  got  a  big  pull  and  if 
he  gets  wise  to  his  son  going  around  with  Mary  he'll 
send  the  bulls  down  after  us  strong.  Believe  me, 
I  ain't  looking  for  any  trip  up  the  river. 

AGNES.  We  ain't  done  anything  they  can  touch 
us  for — Mary  says  so. 

GARSON.  Whether  you  done  anything  or  you  ain't, 
once  the  bulls  set  out  to  get  yer,  they'll  get  yer. 
Why,  Kussia  ain't  in  it  with  some  o'  the  things  I've 
seen  pulled  off  in  this  town,  (door-bell  rings  off  left 
center) 

AGNES.  Yes,  but  they  can't  touch  us ;  we  got  our 
fingers  crossed. 

GARSON.     (with  a  laugh)     Can't,  eh? 

CASSIDY.  (CASSIDY  starts  speaking  outside,  opens 
the  door  and  comes  just  inside  during  his  line. 
FANNIE  is  following  closely  and  comes  to  a  stand 
still  at  CASSIDY'S  left.  At  the  first  sound  of  CAS- 
ftiDY's  voice  GARSON  rises  and  turns  and  faces  the 
door  and  takes  the  stage  a  little  to  the  left.  CASSIDY 
does  not  remove  his  hat  during  the  following  scene) 
Never  mind  that  announcing  thing. 

FANNIE,  (angrily)  You  get  out  of  here.  What 
do  you  mean  by  pushing  your  way  in  here  like  this? 


WITHIN   THE   LAW  33 

CASSIDY.    (watching  GABSON)    Beat  it! 

GABSON.  It's  all  right,  Fannie.  (FANNIE  turns 
and  exits  up  left  center  closing  the  door  after  her) 

CASSIDY.  (without  moving  and  in  a  familiar 
tone)  Hello--Joe — Hello,  Aggie! 

GABSON.    Well? 

CASSIDY.  (coming  down  center)  Oh  just  a 
friendly  little  call.  Where's  the  lady  of  the  house? 

GABSON.  (as  he  turns  with  his  back  against  the 
front  of  the  table  at  left  center)  Why,  she's  out. 

CASSIDY.  (in  a  little  sharper  tone)  Well,  when 
she  gets  back,  Joe,  you  tell  her  it's  up  to  her  to  make 
her  getaway  and  make  it  quick. 

AGNES.  Say,  you  can't  throw  a  scare  into  us. 
You  haven't  got  anything  on  us.  (at  first  word  from 
AGNES,  CASSIDY  turns  to  her) 

GABSON.    Right. 

CASSIDY.  (to  AGNES)  Nothing  on  you,  eh ?  (to 
GABSON)  You're  Joe  Garson,  ain't  yer? 

GABSON.    Well,  what  of  it? 

CASSIDY.     (feels  his  pockets  quickly  and  takes  out 
a  note  book  from  his  vest  pocket  and  opens  it  and 
reads)     Joe  Garson,  forger.     First  arrested  in  ' 
for  forging  the  name  of  Edwin  Goodsell  for  a  check 
for  ten  thousand  dollars;  again  arrested  in  '98,  for 
forging  the  signature  of  Oscar  Hemmingway  to 
series  of  counterfeit  bonds;  arrested  as  the  man  back 
of  the  Reilly  gang  in  '03 ;  arrested  in  '08  for  forgery. 
(CASSIDY  returns  booTc  to  his  pocket) 

GABSON.  (quietly)  Haven't  got  any  records  of 
convictions,  have  you? 

CASSIDY.     No -but  we  got  the  right  dope  on 

you  (turning  to  AGNES  vrith  sarcasm)  And  you  re 
little  Aggie  Lynch,  posin'  as  Mary  Turner's  cousin. 
Did  two  years  for  blackmail.  Was  arrested  in  BuSalo 


34  WITHIN    THE    LAW 

and  served  yer  time  in  Auburn.  Nothin'  on  yer? 
(looking  at  GARSON)  Well?  (looking  at  AGGIE) 
Well?  " 

AGNES.  My  Gawd,  it  looks  as  tho'  you'd  actually 
been  working,  (during  the  laugh,  CASSIDY  looks 
"mud,"  turns  to  GARSON  and  quickly  turns  and  gives 
AGNES  another  look — then  turns  to  GARSON) 

CASSIDY.  And  the  head  of  the  gang  is  Mary 
Turner.  Arrested  four  years  ago  for  robbin'  "The 
Emporium."  Done  a  stretch  of  three  years. 

GARSON.  (quietly  crossing  to  CASSIDY)  That  all 
you  got  about  her? 

CASSIDY.     That's  enough,  ain't  it? 

GARSON.  Got  anything  in  your  record  about  her 
coming  out  of  the  stir  without  a  friend  in  the  world 
and  tryin'  to  go  straight?  (pause.  As  CASSIDY  does 
not  answer)  I  suppose  you  forgot  about  going  to 
that  millinery  store  where  she  finally  got  a  job  and 
tippin'  them  off  to  where  she  came  from? 

CASSIDY.  Sure  they  were  tipped  off.  We  got  to 
protect  the  city. 

GARSON.  Yes.  Got  anything  in  that  record  of 
yours  about  her  gettin'  another  job  an'  you  followin' 
up  again,  and  havin'  her  thrown  out  ?  Got  any 
thing  in  that  record  about  the  letter  you  had  old 
Gilder  write  tellin'  the  next  people  she  was  workin' 
for,  what  she's  done  to  him,  or  what  he  thought  she'd 
done? 

CASSIDY.     Oh,  we  had  her  right  the  first  time. 

GARSON.  Yes,  you  did — not.  She  was  railroaded 
for  a  job  she'd  never  done.  She  went  in  honest  and 
came  out  honest. 

CASSIDY.  And  now  she's  here  with  a  gang  of 
crooks. 


WITHIN   THE   LAW  35 

GARSON.  Where  else  should  she  be?  You  got 
anything  in  that  record  about  us  jumpin'  into  the 
river  after  her?  That's  where  I  found  her — a  girl 
that  never  done  any  harm  to  anyone — starving  be 
cause  you  bulls  wouldn't  give  her  a  chance  to  work- 
in  the  river,  because  she  wouldn't  take  the  only  other 
way  left  her  to  make  a  livin'.  Have  you  got  any  of 
that  in  your  little  book? 

CASSIDY.  Guess  you  must  be  kinder  stuck  on  her, 
eh? 

GARSON.  (turning  away  from  CASSIDY;  quietly) 
Cut  that. 

CASSIDY.     (sharply)     What? 

GARSON.  (turning  to  CASSIDY,  and  stronger) 
Cut  it! 

CASSIDY.     (stronger)     Why,  you  don't  mean— 

GARSON.  (quickly  up  to  CASSIDY  and  looking  Mm 
straight  in  the  eye  and  speaking  savagely)  I  mean, 
cut  it.  (pause.  Then  slowly  and  quietly)  Do  you 
get  me?  (pause.  Then  CASSIDY  sinks  back  a  step. 
GARSON  holds  his  position  without  moving.  Just  as 
CASSIDY  shows  the  first  sign  of  sinking,  AGNES 
speaks) 

AGNES.    He's  got  yer. 

CASSIDY.  (looking  at  GARSON  in  admiration) 
Gee,  you'd  been  a  big  man,  Joe,  if  it  hadn't  been  for 
that  temper  of  yours.  It's  got  you  into  trouble  a 
lot  of  times,  some  day  it'll  get  you  in  so  wrong  you'll 
never  get  out. 

GARSON.  (quietly  but  firmly)  That's  my  bus 
iness,  (pause,  as  GARSON  crosses  left  to  front  of 
table) 

CASSIDY.  (after  pause)  Well  anyway,  you've  got 
to  clear  out — the  whole  gang  of  you — and  do  it  quick. 


36  WITHIN   THE   LAW 

AGNES,  (rising,  dropping  magazine  in  chair  and 
crossing  to  CASSIDY)  Say,  listen,  we  don't  scare 

uitli  a  cent — you  can't  do  anything  to  us.  (as  she 
turns  away)  We  ain't  broke  the  law. 

CASSIDY.     (in  amazement)     What? 

AGNES,  (stopping  suddenly  and  as  she  smiles 
over  her  shoulder  at  CASSIDY)  Well,  maybe  we've 
.  bent  it. 

CASSIDY.  It  don't  make  any  difference  what 
you've  done. 

AGNES,     (freshly)     No? 

CASSIDY.  (positively)  No.  (looking  from 
AGNES  to  G ARSON)  Gee,  things  are  comin'  to  a 
pretty  pass  when  a  couple  of  crooks  gets  to  arguing 
about  their  rights. 

GARSGN.     Yes. 

CASSIDY.     That's  funny. 

AGNES.     Then  laugh,  Ha  !  Ha  ! 

CASSIDY.  (sharply)  Well,  you've  got  the  tip  and 
it's  up  to  you  to  take  it.  If  you  don't,  one  of  you  will 
make  a  long  vi.?it  with  some  people  out  of  town,  (to 
GAIJSON)  and  it'll  probably  be — Mary.  Remember 
Joe,  I'm  givin'  it  to  you  straight,  (starts  up  center 
toward  door.  Only  gets  a  couple  of  steps  when 
AGNES'  voice  stops  him  and  he  turns  to  AGNES) 

AGNTES.  (as  she  follows  CASSIDY  up  stage  and 
stops  at  his  right  side — then  in  her  ladylike  man 
ner)  Do  come  again  soon,  won't  you,  little  one? 
I've  enjoyed  your  visit  so  much.  Good  afternoon. 
(AGNES  kisses  the  tips  of  her  fingers  and  quickly  puts 
them  on  CASSIDY'S  lips.  CASSIDY  turns  quickly  away 
in  disgust  and  exits  up  left  center.  AGNES  standing 
still  and  looking  after  CASSIDY)  The  truck-horse 
detective.  An  18-inch  collar,  a  6%  hat.  (crossing 
down  toward  GAIISON  as  far  as  chair  right  at  table, 


WITHIN   THE   LAW  37 

at  left  center.    Seriously)     He  was  right  about  one 
thing,  too. 

GARSON.  (as  he  starts  across  to  chair  left  of  trick 
table)  I  know — my  temper. 

AGNES.    Yes. 

GARSON.  I  can't  help  it.  (sitting  in  chair  left 
of  trick  table  and  picking  up  newspaper  from  floor} 
I  know  I  shouldn't  let  it  break  out,  but  I  can't  help 
it. 

AGNES.     He  had  his  nerve ;  tryin'  to  bluff  us. 

GARSON.     Perhaps  it  wasn't  a  bluff. 

AGNES,  (as  she  takes  a  step  toward  GARSON) 
What  have  we  done? 

GARSON.  It  ain't  what  you've  done — it's  what 
they  can  make  the  jury  think  you've  done;  and  once 
they  set  out  to  get  you,  how  they  can  frame  things. 
If  they  ever  set  out  after  Mary— 

AGNES,  (crossing  a  little  nearer  GARSON)  Joe, 
you're  a  grand  little  forger,  but  Mary's  got  the  brains 
and  I'll  string  along  with  her  as  far  as  she  wants  to 
go.  She's  educated  me.  She  talks  like  a  lady  and 
she  acts  like  a  lady,  (as  she  does  an  exaggerated 
ladylike  walk  up  to  lack  of  chair  right  of  table  at 
left  center — GARSON  watching  hep — in  her  ladylike 
manner)  She's  trying  to  make  a  lady  out  of  me. 

GARSON.  (as  he  continues  to  read  his  paper) 
She's  got  a  swell  chance. 

AGNES.  Is  that  so  ?  Pipe  the  tea-stuff !  (in  rather 
exaggerated  society  manner  at  the  back  of  table  at 
left  center.  GARSON  watches  her.  As  she  pretends 
to  shake  hands)  How  do  you  do,  Mrs.  Jones?  So 
good  of  you  to  call!  (turning  to  the  other  side) 
Oh,  my  dear  Miss  Smith,  this  is  a  pleasure !  (pre 
tending  to  put  sugar  in  a  cup  of  tea)  One  lump  or 
two?  (as  if  she  had  cream  in  her  hand)  No  cream? 
Oh,  dear,  and  it's  so  expensive  this  year!  (as  she 


38  WITHIN   THE   LAW 

pretend?  to  hand  cup  of  tea  to  someone)  Yes,  I 
just  love  bridge.  No,  I  don't  play  it,  but  just  the 
same  I  love  it.  (as  she  crosses  toward  GARSON  just 
beyond  chair  right  of  table,  talking  naturally) 
That's  the  kind  of  stuff  she's  been  havin'  me  do. 
(turning  and  crossing  to  table  at  left  centre  and 
below  chair  at  its  right)  And,  believe  me,  it's  pretty 
damn  near  killed  me!  (picks  up  magazine  from 
table) 

GARSON.  (as  he  returns  to  reading)  Mary's  re 
fined  all  right. 

AGNES,  (turning  to  GARSON  quickly)  Sure  she 
is,  but  she  does  some  things  that  certainly  get  me. 
(#&  she  looks  around  room)  Look  at  this  room. 
(to  GARSON)  It's  supposed  to  be  swell.  Well,  I 

can't  see  it (as  she  sits  in  chair  right  of  table  at 

left  center  and  faces  front) — why,  she  ain't  got  one 
gold  chair  in  the  whole  place ! 

GARSON.  I'll  bet  it's  the  goods  just  the  same. 
(door  bell  rings) 

AGNES,  (as  she  turns  in  her  chair  so  as  to  face 
GARSON)  Sure — I'm  for  Mary  strong.  Stick  to  her 
and  you'll  wear  diamonds,  (regretfully)  I  wish  to 
God  she'd  let  me  wear  mine — but  she  won't — she  says 
they're  vulgar.  Now  how  can  anything  be  vulgar 
that  costs  two  hundred  and  fifty  a  carat?  (FANNIE 
opens  door  and  closes  it  after  her  and  stands  just 
inside  the  door) 

GARSON.     Search  me !    I  don't  know. 

FANNIE.     There's  a  girl  wants  to  see  Miss  Turner. 

AGNES,  (in  her  society  manner)  Has  she  a 
card  ? 

FANNIE.     No,  but  she  says  it's  very  important. 

GARSON.  (to  AGNES,  dropping  his  paper  to  the 
floor  between  his  chair  and  trick  table)  Better  have 
her  come  in  and  wait. 


WITHIN    THE    LAW  39 

AGNES,  (in  her  society  manner)  Fannie,  tell  the 
young  lady  to  come  in.  ( AGNES  looks  at  GAESON 
and  GAESON  watches  AGNES,  smiles  as  she  gets  up 
and  does  her  society  walk  down  to  the  front  of  the 
table  at  left  center.  AGNES  then  turns  to  GABSON 
with  a  knowing  smile) 

GARSON.  (after  AGNES  looks  at  him,  rises  and  as 
he  goes  up  to  door  at  up  right  center)  I  wonder  who 
it  is? 

AGNES,  (natufally)  No  idea — but  it  can't  do  no 
harm  to  have  her  in  and  pipe  her  off. 

GAESON.  Eight.  (FANNIE  opens  door  at  up 
left  center  and  HELEN,  pale  and  shabbily  dressed f 
enters  and  stops  just  inside  the  door  and  FANNIE 
closes  the  door) 

AGNES  (as  HELEN  stops.  In  her  society  man 
ner)  Won't  you  come  in,  please  ? 

HELEN.  (HELEN  walks  down  center  in  silence 
until  she  faces  AGNES)  Are  you  Miss  Turner? 

AGNES,  (in  her  society  manner)  Oh,  I'm  awful 
ly  sorry,  I'm  only  her  cousin  Agnes  Lynch. 

HELEN,  (as  she  slightly  drops  her  head  in  dis 
appointment)  Oh ! 

AGNES,  (quickly  and  in  Tier  society  manner) 
Miss  Turner  will  be  back  almost  any  moment  now. 

HELEN,     (a  little  anxiously)     Could  I  wait? 

AGNES,  (as  she  indicates  chair  left  of  trick  table, 
then  in  her  society  manner)  Oh,  yes.  Won't  you 
sit  down,  please?  (HELEN  crosses  to  chair  indicated. 
AGNES  crosses  to  chair  right  of  table  at  iejt  centre 
and  GAESON  quietly  comes  down  to  back  of  trick 
table.  HELEN  does  not  notice  GAESON.  As  HELEN 
sits  in  the  chair  AGNES  sits  and  GAESON  speaks  to 
HELEN  a  little  sharply) 


40  WITHIN    THE   LAW 

GARSON.  You  don't  know  Miss  Turner?  (at 
GARSON'S  first  word,  HELEN  slightly  turns  to  GAR- 
SON  and  shrinks  a  little) 

HELEN.     No,  sir. 

GAKSON.     What  do  you  want  to  see  her  for  ? 

HELEN.  She  once  helped  a  girl  friend  of  mine 
and  I  thought 

G  ARSON.     She  might  help  you ! 

HELEN,     (as  she  bows  her  head)     Yes. 

AGNES,  (quickly  rising  and  starting  toward 
HELEN  and  naturally)  Then  you've  been  in  stir — 
(a  quick  look  of  warning  from  G ARSON  and  a  look 
of  surprise  stops  AGNES  shortly  at  center  and  then 
in  her  ladylike  tone) — prison,  I  mean? 

HELEN,  (dropping  Iwr  head  with  shame)  Yes, 
Miss. 

AGNES,  (in  her  affected  manner  and  taking  the 
stage  to  the  front  of  table  at  left  center)  How  sad, 
how  very  very  sad ! 

(FANNIE  opens  the  door  at  up  left  for  MARY,  who 
stops  in  the  doorway  and  gives  her  hat,  parasol  and 
gloves  to  FANNIE,  then  "steps  into  the  room  and 
sees  HELEN  as  FANNIE  closes  the  door) 
MAJIY.      (coming  down  c.    To  AGNES)     A  visitor, 
Agnes?     (AGNES  nods  as  MARY  takes  a  step  or  two 
toward  HELEN.     On  MARY'S  first  word  HELEN  turns 
in  her  chair  toward  MARY  and  slowly  recognizes  her) 
HELEN,     (rising    and    turning     toward    MARY) 
You — you  are  Miss  Turner? 
MARY.     Yes. 

HELEN,  (as  she  faces  front)  Mary  Turner  !  (as 
she  sinks  into  chair)  Oh,  my  God !  (MARY  crosses 
quickly  to  HELEN,  then  to  GARSON,  who  is  still  lack 
of  trick  table) 


WITHIN   THE   LAW  41 

MARY.  Joe,  have  Fannie  bring  a  glass  of  milk 
v.ith  an  egg  in  it,  quick,  please.  (GARSON  crosses 
quickly  to  up  left  center  and  exits) 

HELEN.     I  didn't  know. 

MARY,  (with  her  arms  around  HELEN'S  shoul 
ders)  Don't  try  to  talk  until  you've  had  something 
to  eat. 

AGNES,  (crossing  part  way  toward  HELEN) 
She's  hungry  and  I  never  even  thought  of  it.  Ain't 
I  the  simp? 

HELEN.    I'm  starving. 

MARY,  (helping  HELEN  to  rise)  I  understand. 
(to  AGNES,  quickly  crossing  to  HELEN'S  right  and 
putting  her  arms  around  HELEN  and  helping  her) 
Take  her  to  my  room,  (all  three  start  across  stage 
left.,  and  as  they  get  to  table  at  left  center  MARY 
drops  lack  and  -follows)  Have  her  drink  the  egg 
and  milk  slowly,  then  lie  down  for  a  while. 

AGNES.     Sure.     You  come  along  with  me.     We'll 
fix  you  up,  all  right.     Come  along  with  me. 
(HELEN  and  AGNES  exit  through  door  at  left.     MARY 

stops  at  door  watching  them.     GARSON  enters  at 

up  left  center  door,  coming  down  to  back  of  table 

at  left  center  as  he  speaks) 

GARSON.     Mary. 

MARY,  (turning  away  from  door  and  crossing  to 
I) nek  of  chair  left  of  table  at  left  center)  Yes. 

GARSON.     There's  a  man  named  Irwin  out  there — 

MARY.     Oh!     General  Hastings'  lawyer. 

GARSON.     Yes.     He  says  he  wants  to  see  you. 

MARY,  (after  a  moment's  thought)  Would  you 
mind  asking  him  to  come  in,  Joe?  (GARSON  starts 
toward  door  at  up  left  center)  Fannie's  busy  get 
ting  something  for  that  poor  girl  in  there.  (GARSON 
exits,  closing  door)  Agnes,  oh  Aggie,  just  a  minute 
please.  (AGNES  enters  and  crosses  to  MARY.  MARY 


4.2  WITHIN    THE   LAW 

puts  her  arms  around  AGNES'  shoulders)  Mr.  Irwin, 
General  Hastings'  lawyer  is  here.  He  wants  to  see 
you.  When  I  call,  corne  in  please,  but  you'd  better 
leave  everything  to  me.  Just  follow  my  lead — 
(AGNES  smiles  and  starts  toward  door  left.  MARY 
stops  her)  And  Agnes,  be  very  ingenue. 

AGNES.  I'm  wise,  (crosses  to  door  left  and  turns) 
I'll  be  a  squab. 

(AGNES  exits  and  GARSON  opens  door,  and  IRWIN, 
dropping  his  hat  on  table,  steps  into  the  room  and 
stops  just  at  the  head  of  the  couch.     IRWIN  is 
followed  by  FANNIE,,  who  carries  a  glass  of  milk 
on  a  tray  and  stops  just  above  table  at  left  centre. 
GARSON  closes  door  and  MARY  passes  around  to 
the  front  of  chair,  left  of  table  at  left  center) 
MARY,     (to  IRWIN)     You  wanted  to  see  me? 
IRWIN.     Yes.     ( IRWIN  comes  slowly  down  center) 
MARY,     (to  FANNIE)     Take  it  to  my  room,  please. 
(FANNIE  crosses  and  exits  through  door  left) 
IRWIN.     I  hope  no  one  is  ill? 
MARY.     No.     Just  a  poor  girl  half  starved — that's 
all.     (to  IRWIN)     Won't  you  sit  down,     (pause  as 
IRWIN  sits  in  chair  right  of  table  and  MARY  sits  on 
chair  left  of  table.     Each  watching  the  other) 

IRWIN.  I  called  in  reference  to  the  suit  which 
Miss  Agnes  Lynch  threatens  to  bring  against  my 
client,  General  Hastings. 

MARY.  It  isn't  a  threat,  Mr.  Irwin.  The  suit 
will  be  brought. 

IRWIN.     Of  course  you  realize  that  it's  blackmail. 

(FANNIE  enters  at  door  left  and  crosses  up  toward 
door  at  up  left  center) 

MARY.  If  it's  blackmail,  Mr.  Irwin,  why  don't 
you  consult  the  pol —  ?  Oh,  Fannie —  (  FANNIE  stops 
and  turns  to  MARY)  Will  you  ask  Miss  Lynch  to 


WITHIN   THE   LAW  43 

come  in,  please?  (FANNIE  crosses  to  door  left  and 
exits)  Really,  Mr.  Irwin,  I  think  you'd  better  take 
tliis  matter  to  the  police. 

IRWIN.  You  know  perfectly  well  that  General 
Hastings  cannot  afford  such  publicity. 

MARY.  Fm  quite  sure  the  police  would  keer>  your 
complaint  a  secret.  Really,  Mr.  Irwin,  why"  don't 
you  tell  your  troubles  to  a  policeman  ? 

IRWIN.  Very  well,  then,  (rising  and  crossing 
quickly  up  toward. door  at  up  left  center)  I  will. 

MARY,  (rising  and  pushing  phone  toward  IRWIN) 
.'MOO  Spring  will  bring  an  officer  almost  immediately, 

(  IRWIN  comes  down  quickly,  picks  up  'phone  and  is 
about  to  lift  off  receiver  when  MARY  laughs.  He 
quickly  sets  it  down,  and  crosses  down  center) 

IRWIN.  Nevertheless  General  Hastings  did  not 
promise  to  marry  that  girl. 

AGNES.  (AGNES  appears  in  doorway  followed  by 
FANNIE  who  quickly  crosses  to  door  up  left  center 
and  exits.  Shyly  and  slowly  coming  toward  MARY) 
Did  you  want  me,  dean? 

MARY,  (putting  her  arm  around  AGNES'  shoulder 
and  bringing  her  forward  toward  IRWIN)  Yes, 
Agnes,  this  is  Mr.  Irwin,  who  has  come  to  see  us  in 
behalf  of  General  Hastings. 

AGNES,  (shrinkingly  and  burying  her  face  in 
MARY'S  shoulder)  Oh,  I'm  frightened. 

MARY,  (petting  her)  Nonsense,  dear,  there's 
nothing  to  be  frightened  about — (MARY  takes  AGNES 
by  the  shoulders  omd  looking  her  in  the  eye  with  an 
occasional  side  glance  at  IRWIN)  Of  course,  you 
know,  my  dear,  that  under  no  circumstances  must  you 
say  anything  that  isn't  true,  and  if  General  Hast 
ings  did  not  promise  to  marry  you,  you  have  no  case. 
(pause,  as  MARY  backs  AGNES  up  and  sits  in  chair 


44  WITHIN   THE   LAW 

left  of  table  at  left  center  and  AGNES  kneels  at 
MARY'S  left,  and  a  little  below  her  facing  IRWIN) 
Now,  tell  me,  did  the  General  promise  to  marry  you  ? 

AGNES.  Oh  yes,  Oh  yes,  and  I  wish  he  would ;  he's 
such  a  delightful  old  gentleman. 

IB  WIN.     Was  that  promise  made  in  writing  ? 

AGNES.  No (pause,  as  IRWIN  turns  away  with 

a  smile)  But  all  his  letters  were  in  writing,  (pause 
as  IRWIN  turns  back  to  look  sharply  at  AGNES  and 
the  smile  leaves  his  face)  Oh,  such  wonderful  let 
ters — so  tender  and — er — interesting.  (AGNES  buries 
her  face  in  MARY'S  lap) 

IRWIN.     Yes.     I  dare  say,  I  dare  say. 

MARY,  (as  AGNES  raises  her  head  and  looks  at 
MARY)  But  you  are  quite  sure  the  General  did 
promise  to  marry  you? 

AGNES.     Oh,  yes,  I'd  swear  to  that. 

MARY,  (to  IRWIN)  You  see,  sir?  She'd  swear 
to  that. 

IRWIN.  (pause,,  as  he  thinks)  Well,  we're  beaten. 
(a  quick  look  betiveen  MARY  and  AGNES.  As  IRWTN 
crosses  to  right  of  table  at  left  center*  and  MARY 
watches  him  warily)  Pm  going  to  be  quite  frank 
with  you,  Miss  Turner,  quite  frank.  ( IRWIN  during 
the  following  speech  takes  a  wallet  from  his  inside 
pocket,  extracts  a  package  of  money,  returns  wallet 
to  his  pocket)  We  can't  afford  any  scandal,  so  we're 
going  to  settle  at  your  own  terms.  ( IRWIN  rifles  the 
package  of  yellow-backs  and  AGNES  leans  forward 
eagerly.  MARY  watches  IRWIN)  We  can't  fight 
where  ladies  are  involved,  so  if  you  just  hand  over 
General  Hastings'  letters,  why  here's  your  ten 
thousand  dollars,  (drops  package  of  money  on  table 
and  turns  away  taking  stage  center.  As  his  back 
turns  AGNES  makes  a  grab  for  the  money  and  MARY 
quickly  grabs  her  wrist  and  pushes  her  back  to  her 


WITHIN  THE   LAW  45 

farmer  position  as  IRWIN  turns  to  them  again)     You 
have  the  letters,  haven't  you  ? 

AGNES,  (putting  her  hand  over  her  heart)  They 
never  leave  me. 

IRWIN.  (crossing  toward  AGNES  as  far  as  the 
table  at  left  center  and  with  hand  outstretched) 
They  can  now.  (AGNES  about  to  reach  into  her  dress 
and  take  them  out  when  MAEY  lays  a  restraining 
hand  on  AGNES'  hand  and  rises  at  the  same  time  fac 
ing  IRWIN.  AGNES  rises  and  stands  back  of  MARY) 

MARY.     Not  quite  yet,  I'm  afraid. 

IRWIN.  (as  he  turns  and  takes  stage  center) 
But  there's  your  money,  waiting  for  you. 

MARY,  (as  she  crosses  part  way  over  to  IRWIN, 
and  in  a  doubtful  tone)  I  think  you'd  better  see 
our  lawyer,  Mr.  Harris,  first. 

IRWIN.  Oh,  there's  no  need  of  all  that  formality. 
Just  a  friendly  little  arrangement  between  ourselves. 

MARY,  (all  doubt  gone — with  a  smile,  as  she 
crosses  up  to  IRWIN  and  AGNES  moves  to  the  center 
of  the  table  at  left  center)  Now  I'm  quite  certain 
you'd  better  see  Mr.  Harris  first. 

IRWIN.     (seeing  he  has  been  tricked)     Oh,  I  see. 

MARY,  (with  meaning)  Yes,  I  thought  you 
would.  If  you'll  take  your  money  to  Mr.  Harris, 
Miss  Lynch  (MARY  turns  to  AGNES,  then  back  to 
IRWIN)  will  meet  you  in  his  office  at  four  o'clock, 
and  when  her  suit  for  breach  of  promise  is  legally 
settled  out  of  court,  you  will  get  those  letters,  Mr. 
Irwin.  Good  afternoon.  ( IRWIN  bows  gravely  and 
starts  to  door  at  up  left  center.  MARY  crosses  to 
chair  at  left  of  trick  table.  Just  as  IRWIN  is  about 
to  go  out  the  door,  MARY  speaks)  Oh — (IRWIN 
stops) — you  forgot  your  marked  money. 


46  WITHIN    THE    LAW 


sits  in  chair.  IRWIN  crosses  down  below 
chair  right  of  table  at  left  center,  picks  up  money 
then  crosses  quickly  up  to  door,  up  left  center,  then 
turns  to  MARY) 

IRWIN.  (sharply)  Young  woman,  you  should 
have  been  a  lawyer! 

(IRWIN  exits  and  MARY  laughs) 

MARY,     (laughingly)     Thank  you. 

AGNES,  (crossing  quickly  to  MARY)  Say,  yon 
darned  near  broke  my  heart  lettin'  all  that  money  get 
out  of  the  house.  How'd  you  know  it  was  marked  ? 

MARY.  I  didn't,  but  it  was  a  pretty  good  guess, 
wasn't  it?  Couldn't  you  see  that  all  he  wanted  was 
to  have  us  take  the  money,  get  the  letters,  and  then 
we'd  have  been  arrested  for  blackmail. 

AGNES.     Where  do  we  get  off  now? 

MARY.  Now  he'll  go  to  our  lawyer  —  hand  him 
over  the  same  marked  bills,  get  the  letters  he  wants 
so  much,  and  because  it's  a  transaction  between  two 
lawyers  with  everything  done  according  to  legal 
ethics  — 

AGNES.    What  are  legal  ethics? 

MARY.     Get  it  legally  and  get  twice  as  much. 

AGNES.     But  it's  the  same  game. 

MARY.  Agnes,  a  shameless  old  roue  makes  love 
to  you  and  writes  you  silly  letters  — 

AGNES.     He  might  have  ruined  my  life  —  ! 

MARY.  If  you'd  asked  him  for  ten  thousand  dol 
lars  for  the  return  of  his  letters,  it  would  have  been 
blackmail  and  we'd  have  gone  to  jail;  but  a  lawyer 
threatens  a  suit  for  breach  of  promise  for  ten 
thousand  dollars  —  his  lawyer  steps  in;  they  have  con 
ferences,  they  run  up  bills  of  expenses  and  in  the  end 


WITHIN    THE   LAW  47 

we  get  our  ten  thousand,  he  gets  his  letters  and  we're 
safely  within  the  law  and  there  you  are.  (MARY  rises 
and  crosses  down  right  to  armchair) 

AGNES.  All  too  much  for  me.  (goes  up  to  chair 
in  front  of  desk  at  right) 

GARSON.  (enters  up  left  center  and  as  he  crosses 
down  center.  To  MARY)  Is  it  all  right? 

MARY.     Certainly. 

GARSON.     (at  center)     Did  you  get  ten  thousand  ? 

(HELEN  enters  at  door  left.,  takes  a  quick  look  and 
as  no  one  is  looking  her  way,  starts  quickly  for 
door  up  left  center) 

MARY,     (turning  to  GARSON)     Yes. 

GARSON.  Fine !  (starts  to  cross  L.  and  just  gets 
as  far  as  front  of  table  at  left  center  as  MARY  dis 
covers  HELEN.  HELEN  is  about  to  put  her  hand  on 
the  knob  of  door  at  up  left  center.  As  MARY  speaks 
GARSON  stops  and  watches  HELEN  with  his  back  down 
stage  and  AGNES  who  is  about  to  sit  at  desk  right, 
stops  and  watches) 

MARY,  (quickly,  crossing  up  to  HELEN)  Why, 
yon  ought  to  rest.  (HELEN  stops) 

HELEN,     (without  looking  up)     I'm  all  right. 

MARY.     Quite  sure  ? 

HELEN.    Yes. 

MARY,  (putting  her  arm  around  HELEN'S  shoul 
der  and  bringing  her  to  chair  left  of  trick  table, 
GARSON  crosses  around  to  chair  left  of  table  at  left 
center  and  AGNES  brings  the  desk  chair  down  to  the 
right  of  trick  table  and  slightly  above  it)  Then 
come  over  and  sit  down  and  tell  us  all  about  it. 
(HELEN  sits  left  of  trick  table.  GARSON  sits  left  of 
table  at  left  center,  watching  the  whole  scene  and 
never  taking  his  eyes  off  MARY.  AGNES  sits  in  chair 
she  lias  brought  down  to  right  of  trick  table.  MARY 


48  WITHIN    THE   LAW 

irosses  over  and  takes  chair  from  right  of  table  at 
left  center,  brings  chair  lack  to  center  and  sets  it  a 
little  above  HELEN  and  half  facing  her,  and  stands 
back  of  it.  As  MARY  gets  the  chair  she  gives  GAKSON 
a  look)  Now  then,  what's  your  name ? 

HELEN,     (facing   down   stage   and  half   huddled 
in  chair)     Helen— Helen  Morris. 

MA  in.     There's  no  need  my  asking  if  you've  been 
in  prison.     Your  face  shows  that. 

HELEN.     I  came  out  three  months  ago. 
M'ABY.     And  you've  made  up  your  mind   to  go 
straight? 

HELEN.     Yes. 

MARY.  You  are  going  to  do  what  the  chaplain 
told  you— start  all  over  again— begin  a  new  life? 
(HELEN  nods  "Yes")  It  doesn't  work  very  well, 
does  it?  (comes  around  chair  and  sits  so  that  she  is 
half  facing  HELEN) 

HELEN.     No,  Fm  beaten. 

MARY,  (first  giving  G  ARSON  a  look}  Well,  now 
vutuhl  you  like  to  work  with  us? 

HELEN,  (as  she  turns  toward  MARY  in  surprise) 
You  are — 

MARY.  Certainly,  it  pays  to  when  you  know  how. 
Look  at  us. 

AGNES.  (HELEN  turns  and  looks  at  AGNES  on 
her  first  word)  Hats  from  Joseph's,  gowns  from  Lu- 
cille's,  and  cracked  ice  from  Tiffany's.  (.HELEN  con 
tinues  to  look  at  AGNES  until  MARY'S  first  word,  then 
she  looks  straight  front  and  shows  during  MARYS 
following  speech  that  it  is  not  to  her  liking} 

M-\RY.  (watching  HELEN  closely)  Suppose  I 
ai-ake  you  for  the  present  and  put  you  in  with  the 
r-io-ht  people?  All  you'll  have  to  do  is  answer  ads  for 
servant,  jrirlfr-Fll  see  that  you  have  the  best  of 


WITHIN   THE   LAW  49 

references,  and  then  when  you  get  in  with  the  right 
people,  you'll  open  the  front  door  some  night,  and 
let  in  the  gang.  Of  course  you'll  make  your  getaway 
when  they  do  and  get  your  bit  as  well.  (HELEN  half 
iurns  to  MAEY  as  if  about  to  speak  then  turns  away. 
MARY  gives  G ARSON  a  smile)  Doesn't  suit  you — 
(HELEN  nods  her  head — no.  MARY  rises  and  crosses 
to  HELEN)  Good!  I  hoped  you  wouldn't.  Now 
here's  my  real  plan.  (HELEN  is  all  attention  and 
at  first  suspicious,  gradually  shows  that  MARY'S  fol 
lowing  speech  is  to  her  liking.  MARY  steps  a  little 
back  from  HELEN)  Suppose  you  go  West — where 
vou'd  have  a  fair  chance — with  money  enough  to  live 
like  a  human  being  until  you  get  a  start.  (HELEN 
looks  up  at  MARY)  I'll  give  you  that  chance  if  you 
really  want  it. 

HELEN,  (rising  and  turning  to  MARY)  Oh,  I 
do — I  do. 

MARY,  (taking  HELEN'S  hands)  Then  I've  just 
one  thing  to  say  to  you  first.  If  you're  going  to  start 
fresh,  go  through  with  it.  Do  you  know  what  that 
means  ? 

HELEN,  (turing  away  from  MARY  and  looking 
ouj,  front)  You  mean,  keep  straight? 

MARY.  I  mean  forget  that  you've  ever  been  in 
prison.  I  don't  know  what  you've  done,  but  what 
ever  it  was  you've  paid  for  it — a  pretty  big  price,  too. 

HELEN.     I  have,  I  have! 

MARY.  Well,  then,  stand  up  for  your  rights ;  don't 
let  them  make  you  pay  again  and  don't  tell  the  first 
people  who  are  kind  to  you  that  you've  been  crooked. 
If  they  think  you're  straight — be  it ;  will  you  promise 
me  that? 

HELEN,  (very  seriously  and  turning  to  MARY) 
Yes,  I  promise. 


50  WITHIN    THE   LAW 

MARY.  Good.  Then  wait  a  minute.  (MARY 
takes  her  chair,  returns  it  to  its  place  at  right  of 
table  left  center,  crosses  behind  table  around  to 
other  side.  To  GARSON)  Excuse  me,  Joe.  (GAR- 
SON  draws  his  chair  back  and  MARY  opens  drawer,, 
takes  out  purse  from,  which  she  takes  a  roll  of  money, 
returns  purse  to  drawer  and  closes  it;  and  as  she 
speaks,  crosses  stage  to  HELEN  counting  money 
and  reaching  HELEN  on  her  last  word.  HELEN  has 
been  watching  MARY.)  Take  this — it  will  pay  your 
iare  West  and  keep  you  quite  a  while  if  you're  care 
ful. 

HELEN,  (about  to  take  it,  looks  up  at  MARY  and 
shrinks  away  a  step  and  turns  front)  I  can't  take 
it — I  can't. 

MARY.     Why,  didn't  you  come  here  for  help  ? 

HELEN.    Yes,  but  I  didn't  know  it  was  you. 

(HELEN  realizes  she  has  made  a  mistake  in  admit 
ting  she  knows  MARY.) 

MARY.     Oh,  then  you've  met  me  before? 

HELEN.     No. 

AGNES,  (rising  quickly  and  stepping  down  on  a 
level  with  HELEN  at  the  side  of  trick  table) 

GARSON.     (as  he  rises  and  crosses  to  center)     Yes. 

HELEN.    No. 

MARY,  (after  a  quick  look  at  GARSON)  You've 
met  me  before.  Where? 

HELEN.     I  can't  tell  you. 

MARY.    You  must. 

HELEN.     I  can't. 

MARY.     Why  not? 

HELEN.     Because — because — 

MARY.    Well? 

HELEN.     Oh,  I  can't. 


WITHIN   THE   LAW  51 

MARY,  (pause)  What  were  you  sent  up  for? 
(pause)  Tell  me.  (pause  and  harder)  Tell  me. 

HELEN.  (HELEN  turns  her  eyes  to  MARY,  then 
front  again,  then  answers  slowly)  For  stealing. 

MARY.     Stealing,  what? 

HELEN,  (another  look,  then  front  before  answer 
ing)  Goods ! 

MARY.     Where  from? 

HELEN,  (another  glance  from  HELEN,  then  as  she 
turns  front,  she  swallows,  her  lips  tremble  and  finally 
she  answers)  The  Emporium. 

MARY,  (now  convinced  of  what  she  suspects) 
Then  you  are  the  girl  who — ! 

HELEN,     (turning  to  MARY)     I'm  not,  I'm  not! 

MARY.  You  are,  you  are!  (turning  to  GARSON) 
She  did  it.  (GARSON  starts  quickly  forward  to 
HELEN.  MARY  just  stops  him  before  he  crosses  her) 
Joe !  (GARSON  stops  and  steps  back  with  his  face  up 
stage.  At  G  ARSON'S  first  move  HELEN  shrinks  into 
chair  left  of  trick  table  and  buries  her  head  in  her 
hands  on  the  trick  table.  To  HELEN)  Why  did  you 
throw  the  blame  on  me? 

HELEN,  (taking  her  hands  from  her  face  and 
facing  front)  I  found  out  they  were  watching  me 
and  I  was  afraid  they'd  catch  me,  so  I  took  'em  and 
ran  into  the  cloak  room  and  put  'em  in  a  locker  that 
wasn't  close  to  mine  and  some  in  the  pocket  of  a 
coat  that  was  hangnr5  there,  (turning  to  MARY 
pleadingly)  I  didn't  know  whose  it  was,  I  just  put 
them  there — (turning  front) — I  was  frightened. 

MARY.  And  you  let  me  go  to  prison  for  three 
years ! 

HELEN,  (turning  to  MARY)  I  was  scared — 
(turning  front)  I  didn't  dare  tell. 

MARY.  But  they  caught  you  later.  Why  didn't 
you  tell  then? 


53  WITHIN   THE   LAW 

HELEN.  I  was  afraid.  1  told  'em  it  was  the  first 
f  rook  and  they  let  me  off  with  a  year,  (on  the  last 
u'ord  she  cries  and  buries  her  face  in  her  hands) 

MAKY.  (turning  up  stage)  You  cried  and  lied 
and  they  let  you  off  with  a  year !  I  wouldn't  cry  au*~ 
told  the  truth  and — (MARY  starts  to  break  down) 

GARSON.     Mary,  don't! 

HELEN,  (turning  half  to  MARY)  I'll  never  for 
give  myself — never. 

MAKY.  Oh  yes,  you  will.  (HELEN  again  buries 
her  face  in  her  hands.  MARY  turns  and  looks  at 
HELEN,  having  controlled  herself)  People  forgive 
themselves  pretty  easily.  (HELEN  cries  aloud)  Oh 
stop  crying,  no  one's  going  to  hurt  you.  (HELEN 
continues  to  cry  softly  with  her  hands  up  to  her 
face.  MAIIY  offers  the  money)  Here  take  it  and 
get  out. 

HELEN.     I  can't  take  it. 

MARY,  (forcing  it  into  her  hand;  and  crossing  to 
armchair  down  right  with  her  back  to  center)  Take 
it  before  I  change  my  mind,  and  get  out. 

(HELEN  rises  with  her  hands  over  her  face,  crosses 
left  until  she  almost  runs  into  GARSON  at  center 
then  looks  and  sees  an  awful  look  on  his  face  and 
quickly  slinks  up  to  door  up  left  with  her  hands 
over  \er  face  and  sobbing  softly,  exits.  At 
HELEN'S  exit  AGNES  turns  to  look  at  MARY) 

MARY,  (kneeling  in  arm  chair  at  the  closing  of 
the  door  and  crying)  A  girl  I  didn't  know — to 
smash  my  life  like 'that— if  it  wasn't  so  awful,  it 
would  be  funny— it  is  funny,  (slipping  down  into 
chair  with  her  head  on  the  down  stage  arm,  and, 
hysterically)  It  is  funny. 


WITHIN   THE   LAW  53 

(  AGNES  and  GARSON  both  cross  quickly  to  MARY, 
AGNES  above  MARY  and  puts  her  hands  on  her 
shoulders.  GAESON  goes  over  to  MAEY  as  he 
speaks) 

GAESON.  Mary,  don't  do  that.  That's  no  good. 
(pause  as  MAEY  regains  her  self-control  and  GAESON 
crosses  to  front  of  trick  table  quietly  and  faces  up 
stage) 

MARY,  (through  her  tears  and  sobs)  You're 
right.  It's  done  and  it  can't  be  undone;  but  the 
sight  of  that  girl you  understand. 

GARSON.  (crossing  as  far  as  chair  left  of  trick 
table  with  his  face  still  up  stage)  Sure  we  do. 

AGNES,  (bending  over  MARY,  with  her  right 
cheek  close  to  MARY'S  left,  quietly)  Yes,  but  if  a 
dame  sent  me  up  for  three  years  and  then  wanted 
rroney  from  me,  do  you  thirik  she'd  get  it?  Not 
much. 

(MARY  pats  AGNES'  cheek  then  slowly  rises  and 
crosses  to  chair  left  of  table  at  left  center  and  sits 
facing  down  stage.  AGNES  sits  on  chair  down 
right  vacated  by  MARY.  As  MARY  passes  GARSON, 
he  turns  and  follows  her  across  stage  to  the  upper 
end  of  the  table  at  L.  c.) 

GARSON.  (as  MARY  passes  him)  Mary,  I've  got 
something  to  tell  you.  Cassidy  was  up  here  from 
headquarters.  He  didn't  put  a  name  to  it — but  I'm 
on.  I  guess  you'll  have  to  quit  seeing  young  Gilder. 
The  bulls  are  wise,  (as  GARSON  crosses  down  center) 
His  father's  made  a  holler. 

MARY,  (pause,  then  quietly)  Don't  let  that 
trouble  you.  I  was  married  to  Dick  less  than  an 
hour  ago. 

GARSON.     (turning  to  MARY.)     Married? 


M  WITHIN    THE   LAW 

MARY.    Yes. 

AGNES.    Well  I'm  glad  you  landed  him. 

GARSON.  (to  AGNES)  Wait  a  minute,  (then 
crossing  to  right  of  table  at  left  center)  Do  you 
love  him? 

MARY.     No. 

GARSON.     (persistently)     Do  you  love  him? 

MARY,     (pause)     No,  NO ! 

AGNES.     Then  why  did  you  marry  him? 

MARY.  I  married  him  to  get  even  with  his  father. 
I've  been  working  and  scheming  for  nearly  a  year  to 
do  this  and  now  it's  done.  It's  only  beginning,  too. 

GARSON.  (crosses  up  lack  of  chair  at  right  of 
table  at  left  center)  Then  everything's  goin'  on  as 
before — you  won't  leave  us  ? 

MARY.     Leave?     Certainly  not! 

AGNES.     You'll  live  here  in  this  house  with  me? 

MARY.    Yes ! 

AGNES.     Well,  where  will  hubby  live? 

MARY.     Anywhere  but  here. 

GARSON.     Does  he  understand  the  arrangement  ? 

MARY.     No,  not  yet. 

AGNES.  Well,  when  you  tell  him — break  it  to  him 
gently. 

GARSON.  (coming  down  center.  To  AGNES) 
Pretty  tough  on  him.  He's  a  fine  young  fellow. 
(goes  up  back  of  chair  right  of  table  at  left  center) 
He  must  think  a  lot  of  you !  Don't  he  ? 

MARY.     Yes,  I  suppose  so. 

AGNES.  Only  enough  to  marry  her.  (pome) 
And  when  a  man  thinks  enough  of  you  to  marry 
you — believe  me,  that's  some  thinkin'. 

GARSON.  (crossing  up  lack  of  table  at  left  center) 
Well,  I'd  say  chuck  up  the  whole  game  and  go  to 
him  if  you  cared—and  you  don't,  do  you? 


WITHIN   THE   LAW  55 

MARY.  I  married  him  to  get  even  with  his  father. 
That's  all  there  is  to  it.  I  expect  he'll  be  here  in  a 
minute  or  two  and  when  he  comes — (door  bell  rings 
and  GARSON  crosses  to  door  up  right  center  and  with 
his  left  hand  on  the  knob) 

MARY,  (rising)  If  that's  he,  Agnes,  don't  for 
get  all  I've  tried  to  teach  you. 

AGNES,  (rising  and  crossing  up  center)  Don't 
worry  about  me.  Whenever  it's  really  wanted  I'm 
always  there  with  a  full  line  of  lady  stuff. 

FANNIE,  (enters  at  up  left  center  door  and  closes 
it  after  her)  Mr.  Gilder,  Miss. 

MARY,     (eagerly)     Anyone  with  him? 

FANNIE.     No,  Miss. 

MARY,  (showing  disappointment)  Have  Mr. 
Gilder  come  in.  (FANNIE  exits  left  center  and  closes 
door  after  her) 

GARSON.  I  guess  you  can  excuse  me.  I'll  see 
you  when  I'm  wanted,  (exits  at  up  right  door) 

MARY,  (as  she  starts  across  stage  right,  stops  and 
turns  to  meet  DICK  in  front  of  chair  left  of  trick 
table.  AGNES  starts  crossing  left  at  the  same  time 
and  does  not  stop  until  she  is  standing  in  front  of 
chair  left  of  table  at  left  center)  Don't  forget, 
Agnes. 

AGNES,  (as  she  is  crossing)  I'm  there — I'm 
there. 

DICK.  (Dick  enters  at  up  left  door  and  dropping 
his  hat  on  the  head  of  couch  rushes  down  to  MARY. 
MARY  receives  him  with  one  hand  extended  which  he 
takes  and  attempts  to  draw  to  him  and  kiss  her) 
Hello,  dear. 

MARY,  (holding  him  off)  Don't,  don't — please, 
Agnes.  (DiCK  releases  MARY  and  turns  to  AGNES. 
MARY  goes  across  right  below  armchair  down  right 
and  to  the  back  of  it) 


56  WITHIN    THE    LAW 

DICK.  I  beg  your  pardon,  Miss  Lynch.  But  you 
could  hardly  expect  me  to  see  anyone  but  Mary  under 
the  circumstances,  could  you  ? 

AGNES,  (in  her  society  manner)  Under  what 
circumstances,  Mr.  Gilder? 

DICK.  Why,  hasn't  Mary  told  you?  We  were 
married  this  morning. 

AGNES.  Goodness  gracious!  How  perfectly 
lovely!  (sits  in  chair  left  of  table  at  left  center) 

DICK.  You  bet,  it's  lovely,  (crosses  to  MARY 
and  kneels  in  chair  down  right  with  his  arm  around 
MARY'S  shoulder)  Now  listen,  dear,  I've  got  the 
honeymoon  trip  all  arranged.  The  Mauretania  sails 
at  five  in  the  morning,  so  we'll— 

MARY,     (interrupting)     Where's  your  lather  :> 
DICK.     Oh   Lord,   I'd  forgotten   all    about   Dad 
I'm  awfully  sorry— I'll  tell  you  what  we'll  do;  we  1 
^end  him  a  wireless  and  write  him  from  Paris. 

MARY.  What  was  your  promise?  I  told  you  1 
wouldn't  go  away  with  you  until  you  brought  your 
father  to  me  and  he'd  wished  us  happiness. 

DICK.  You're  going  to  be  stubborn  and  hold  me 
to  my  promise? 

MARY,     (with  meaning)     I'm  going  to  hold  you 

to  that  promise. 

DICK  (off  chair  and  talcing  a  step  bach  towara 
center  and  looking  at  his  watch)  All  right  Mrs. 
Gilder—  (with  a  laugh)  Sounds  fine,  doesnt 

MARY,     (with  meaning)     Yes. 

DICK      (returning  to  his  former  position  at  chair) 
You  pack  up  what  things  you  need— not  much,  be 
cause  they  sell  clothes  in  Paris-and  I'll  run  over 
to  Dad's  office  and  have  him  back  here  in  hal: 
hour.     You'll  be  all  ready,  won't  you? 

MARY.    Yes— I'll  be  ready.     Go  and  bring  your 
father. 


WITHIN   THE   LAW  '57 

DICK,  (as  he  tightens  his  arms  about  MARY  and 
attempts  to  draw  her  to  him)  You  bet  I  will. 
(MARY  holding  away  from  him)  What's  the  mat 
ter? 

MARY.     Nothing. 

DICK.    But,  Mary,  just  one. 

MARY.     No— NO.    Please. 

DICK,  (releasing  her)  For  a  married  woman 
you  are  certainly  shy.  (then  off  chair  quickly,  speak 
ing  to  AGNES  as  he  goes  up  center  and  gets  his  hat) 
You'll  excuse  me,  won't  you,  Miss  Lynch?  (turning 
*c  MARY  with  his  hand  on  door  knob)  Good  bye, 
Mrs.  Gilder — Mrs.  Gilder,  doesn't  that  sound  im 
mense?  (exits  at  left  center  door,  closing  it  after 
him.  As  the  door  closes  MARY  leans  against  the  'back, 
of  the  chair  down  right  and  then  crosses  up  and  picks 
up  small  mirror  from  top  of  desk  at  right  and  ar 
ranges  her  hair) 

AGNES.     Oh  gee,  the  poor  simp. 

(GARSON  enters  at  up  right  door,  closes  it  after  him 
and  looks  around  room  quickly,  then,  as  he  crosses 
down  to  chair  left  of  trick  table) 

GARSON.     Where's  he  gone? 

MARY.     To  bring  his  father. 

AGNES.  I  suppose  I'll  miss  that — I've  got  to  be 
at  that  lawyer's  at  four,  (a  look  of  amusement 
passes  between  GARSON  and  MARY) 

MARY,  (as  she  starts  across  stage  left  and  beloiv 
^rick  table  toward  AGNES)  Yes,  and  you'd  better  be 
ci,«tting  ready,  too. 

AGNES,  (rising)  I  know  it.  (crossing  up  to 
door  at  left)  That's  what  I'm  kicking  about. 

MARY,  (as  she  sits  in  chair  left  of  table  at  left 
center  and  GARSON  sits  in  chair  left  of  trick  table, 


58  WITHIN    THE    LAW 

picks  up  newspaper  and  starts  reading  it)  Have  you 
that  release  for  me  to  look  over  ? 

AGNES,  (as  she  turns  in  doorway  at  left)  Yes, 
hut  I  don't  see  the  use  of  it,  all  I  want  is  the  coin. 
(AGNES  exits  through  door  left) 

GARSON.     It's  a  good  thing  for  her  she  met  you. 

MAKY.  (as  she  takes  a  memo  book  from  drawer 
and  makes  memos  in  it)  Why? 

GARSON.     She  hasn't  got  the  brains  of  a  knot. 

MARY.     Brains  are  useful,  even  in  our  business. 

GARSON.  I  should  say  they  were.  You've  proved 
that. 

(AGNES  re-enters  from  door  left  with  her  hat  on  and 
gloves  xnd  purse  and  legal  paper  in  her  hand.  She 
crosses  back  of  MARY'S  chair  and  stands  at  the  back 
of  the  table  at  left  center) 

AGNES.     Here  it  is.     (hands  MARY  legal  paper) 

MARY,  (opens  legal  paper  and  reads  it  a  moment) 
Tell  Harris  it's  splendid,  (hands  legal  paper  to 
AGNES)  Just  what  we  wanted. 

AGNES.  Seems  to  me  we're  goin'  through  a  lot  of 
red  tape? 

MARY.  Agnes — the  last  time  you  tried  to  separate 
an  old  gentleman  from  part  of  his  money  you  got 
two  years. 

AGNES.     But  that  way  was  so  exciting. 

MARY.  And  this  way  is  so  safe.  Your  way  didn't 
get  the  money.  Mine  will — your  way  was  blackmail, 
mine  isn't.  Understand? 

AGNES.  Sure,  (turns  and  as  she  goes  toward 
door  up  left  center)  It's  as  clear  as  Pittsburgh, 
(AGNES  exits  at  up  left  center  door.  GARSON  and 
MARY  both  laugh) 

GARSON.     Solid  ivory,     (door-bell  rings) 


WITHIN"   THE   LAW  59 

MAKY.     (making    notes   in   note-book)     She's   a 
dear,  anyway.      You  don't  half  appreciate  her,  Joe. 
GARSON    Why  sure  she  is.     Did  you  pipe  that  lid  ? 

(FANNIE  enters  up  left  center  door  and  closes  it  after 
her) 

FANNIE,     (smiling)     Mr.  Griggs,  Miss. 

MARY.  Well,  have  Mr.  Griggs  come  in.  (FANNIE 
exits  up  left  center  door  closing  it  after  her) 

GARSON.     English  Eddie? 

MARY,  (laying  note  book  on  the  table  in  front  of 
her)  I  wonder  what  he  wants. 

GARSON.  Probably  got  a  trick  for  me.  We  used 
to  work  together. 

MARY.     Joe,  nothing  without  my  consent ! 

GARSON.     Oh,  no,  sure  not. 

(FANNIE  goes  up  left  center  door  and  GRIGGS  enters 
coming  just  over  the  door  sill.  FANNIE  is  smiling 
broadly  and  closes  door  after  him) 

GRIGGS.  (to  MARY)  How  do  you  do?  (as  he 
crosses  to  center)  Hello  Joe. 

GARSON.  (drops  newspaper  to  the  floor  between 
chair  and  trick  table,  rises  smiling)  Hello,  English. 

(GARSON  moves  a  few  steps  up  stage) 

MARY,  (looking  at  GRIGGS'  swagger  clothes,  he 
standing  center  for  her  to  admire  him.  MARY  is 
laughing)  Eeally,  you  overcome  me. 

GRIGGS.     Well,  I  think  it  rather  neat  myself. 

MARY.     Even  for  you. 

GRIGGS.  Yes.  (turning  and  laying  his  silk  hat 
an  couch  and  returning  to  his  former  position) 
Even  for  me. 

MARY.     Is  this  a  social  call? 


60  WITHIN    THE    LAW 

GRIGGS.     Well,  no,  not  exactly. 

MABY.     That's  what  I  thought.     Sit  down,  please. 

GRIGQS.     Thanks. 

(GRIGGS  takes  the  chair  from  right  of  table  at  left 
center  and  turns  it  with  his  left  hand  so  that  it 
is  just  opposite  MARY  and  points  slightly  down 
stage  and  a  little  away  from  table  and  with  the 
chair  back  to  MAJSY.  He  then  straddles  the  chair 
with  his  left  arm  across  the  back) 

MARY,  (after  GRIGGS  is  settled)  What's  the 
game? 

GRIGGS.  The  greatest  game  in  the  world,  (half 
turns  his  head  toward  G ARSON)  Get  in  on  this,  Joe. 

(GARSON  crosses  to  the  back  of  the  table  at  left  cen 
ter  as  GRIGGS  continues) 

GRIGGS.  Two  years  ago  a  set  of  Gothic  tapestry 
worth  three  hundred  thousand  dollars  and  some 
Fragonard  panels,  worth  nearly  as  much,  were 
plucked  from  a  chateau  in  France  and  smuggled  into 
this  country. 

MARY.     I've  never  heard  of  that. 

GRIGGS.  Why,  no,  certainly  not — it's  been  kept  on 
the  dead  quiet. 

GARSON.  (to  MABY)  Are  them  things  worth 
that  much? 

MARY.  Sometimes  more.  The  Metropolitan  has 
a  set  of  Gothic  tapestries  worth  half  a  million. 

GARSON.  Half  a  million  for  a  set  of  rugs  to  hang 
on  its  wall,  (starting  toward  chair  at  down  left)  and 
they  wonder  at  crime!  (sits  in  chair  down  left, 
facing  GRIGGS) 

GRIGGS.  Now  about  a  month  ago  the  things  I 
was  telling  you  about  were  hung  in  the  library  of  a 


WITHIN    THE   LAW  61 

millionaire  in  this  city,  (to  GARSON)  Let's  go 
after  them.  They  were  smuggled,  mind  you,  and  he 
can't  squeal  no  matter  what  happens,  (pause)  Well 
what  do  you  say? 

GARSON.     It's  up  to  Mary. 

GRIGGS.     (to  MAKY)     Well? 

MARY.     It's  out  of  our  line. 

GRIGGS.  Well  I  don't  know  any  easier  way  to  get 
half  a  million. 

MARY,  (rising)  It  wouldn't  make  any  difference 
if  it  were  fifty  million.  It's  against  the  law. 

GRIGGS.    I  know,  but  if  we  can — 

MARY.  My  friends  and  I  never  do  anything  that's 
illegal !  (with  a  smile)  Thanks  for  coming  to  UP, 
Mr.  Griggs,  but  we  can't  go  in.  (picks  up  note-book 
and  starts  down  left.  GRIGGS  rises  and  turns  chair 
around  so  that  he  is  standing  at  the  back  of  chair 
without  changing  his  position) 

GRIGGS.  Now  wait  a  minute,  this  chap  Gilder  is — 
(as  MARY  turns  to  GRIGGS  and  GARSON  rises  from 
his  chair) 

MARY  and  GARSON.     Gilder? 

GRIGGS.     Yes,  you  know,  that  linen-draper  chap. 

GARSON.     There's  a  chance  for  you,  Mary. 

MARY,  (facing  GARSON)  No,  I  won't  be  mixed 
up  in  anything  that's  outside  the  law. 

(GRIGGS  during  the  following  couple  of  speeches  steps 
back  up  stage  watching  MARY  and  GARSON  and 
drawing  the  chair  he  was  standing  behind  with 
him) 

GARSON.     But  it's  Gilder,  the  man  you— 
MARY.     I  know,  but  it's  illegal  and  I  won't  touch 
it,  and  that's  all  there  is  to  it.    (GARSON  with  a  growl 
starts  up  stage  and  just  as  he  is  alongside  of  MARY 


62  WITHIN    THE   LAW 

she  puts  her  right  hand  on  his  arm  as  she  speaks) 
Joe! 

GARSON.     (pauses)     Yes. 

(GARSON  goes  up  to  back  window  with  his  back  down 
stage.  MARY  turns  and  looks  at  GRIGGS  a  moment, 
then  drops  the  notebook  on  the  table  and  crossing 
to  the  door  left,  exits  closing  the  door  after  her. 
At  the  close  of  the  door,  GARSON  starts  down  stage 
slowly  and  does  not  stop  until  he  is  in  front  of 
table  at  left  center) 

GEIGGS.  (who  is  watching  GARSON  closely,  speaks 
on  G  ARSON'S  first  move.  Insinuatingly)  Half  a 
million! 

GARSON.  (while  walking,  half  to  himself)  Half 
a  million. 

GRIGGS.  (temptingly)  There's  a  stake  worth 
playing  for.  (GRIGGS  down  to  GARSON'S  right  a 
little  above  him  during  the  following  line)  Think 
of  it,  Joe,  a  half  a  million ! 

GARSON.  (half  to  himself,  and  walking  front) 
Half  a  million. 

GRIGGS.  And  it's  the  softest  money  you  ever  saw. 
(as  he  takes  paper  from  his  pocket  and  unfolds  it) 
Here's  a  plan  of  the  house.  (GRIGGS  looks  at  GAR- 
SON.  GARSON  slowly  turns  and  looks  at  GRIGGS.  As 
GARSON  looks  at  GRIGGS  he  slowly  offers  the  paper  to 
GARSON.  GARSON  slowly  takes  it  then  as  he  turns 
fmnt  to  look  at  it  GRIGGS  backs  a  step  or  two  up 
stage,  watching  GARSON) 

GARSON.     (slowly)     It  looks  easy. 

GRIGGS.  (eagerly)  It  is  easy.  What  do  you 
say  ? 

GARSON.  (as  he  crosses  in  front  of  GRIGGS  to 
right  center  and  handing  GRIGGS  the  paper)  No,  I 
promised  Mary 


WITHIN    THE    LAW  63 

GBIGGS.  (following  GARSON  to  center,  a  little 
above  him,  and  returning  the  paper  to  his  pocket. 
Persuasively)  But  a  chance  like  this — a  chance  with 
one  play  to  get  all  you'll  ever  want. 

GARSON.  (with  his  back  to  GRIGGS)  It  sounds 
good. 

GBIGGS.  Why  this  is  so  big  that  if  it  comes  off  we 
can  quit,  (pause)  All  of  us. 

GARSON.  (turning  to  GRIGGS)  By  God,  that's 
right.  We  can  quit,  (pause.  With  a  quick  glance 
at  door  left  and  turning  his  back  to  GRIGGS)  All  of 
us. 

GRIGGS.     What  do  you  say? 

GARSON.  (crossing  left  to  front  of  table  at  left 
center,  pause)  How'll  we  split  it  ? 

GRIGGS.  (with  relief  in  his  tone)  I  think  three 
ways  would  be  right,  one  to  me,  one  to  you,  and  one 
to  the  bunch  we'll  have  to  take  in.  (pause) 

GARSON.     (as  he  offers  his  hand)     You're  on. 

GRIGGS.  (as  he  takes  G  ARSON'S  hand)  Fine, 
now  I'll  get 

GARSON.  (as  he  drops  GRIGGS'  hand)  You'll  get 
nothing.  I'll  get  my  own  men.  Chicago  Eed's  in 
town.  So  is  Dacey.  They'll  do. 

GKIGGS.    Yes. 

GARSON.  I'll  get  them  to  meet  you  at — Scan- 
lan's  at — two  tomorrow  afternoon,  and  if  it  looks 
right,  we'll  turn  the  trick  tomorrow  night. 

(GRIGGS  with  a  snap  of  his  fingers  and  a  half  turn 
away  to  the  right  as  GARSON  stops  him) 

GARSON.  Eh!  (GRIGGS  turns  back  to  him)  She 
mustn't  know. 

GRIGGS.  She'll  never  know — Joe,  I  give  you  my 
word  of  honor  as  a  gentleman,  I'll  never  tell— 
(MARY  enters  at  door  left  and  conies  to  the  front  of 

i 


64  WITHIN    THE   LAW 

left  center  table.  At  the  sound  of  the  door  opening, 
GARSON  stands  at  center  and  GRIGGS  takes  stage 
right.  In  a  changed  tone)  I  tell  you  after  all  it's 
the  only  way  to  do. 

MARY,     (at  front  of  left  center  table)     What  is? 

GRIGGS.  (turning  and  pretending  he  didn't  know 
MARY  was  there)  I  was  just  saying  that  when 
there's  a  leader,  the  only  way  is  to  follow  the  leader. 

(A  look  passes  between  GARSON  and  GRIGGS  as  GAR- 
SOX  answers  and  goes  up  stage  to  the  foot  of  couch, 
watching  GRIGGS) 

GARSON.    Yes.     Sure. 

GRIGGS.  And  since  you're  against  it,  why  that's 
all  there  is  to  it. 

MARY,  (as  she  picks  magazine  up  from  table) 
Well,  I  am  against  it. 

GRIGGS.  I'm  sorry,  but  we  must  all  play  the  game 
as  we  see  it.  Well,  that  was  the  business  I  was  after, 
and,  as  it's  finished — (starting  up  stage  for  his  hat) 
so  good  afternoon. 

MARY.     Won't  you  stay  and  have  tea  ? 

GRIGGS.     (at  the  head  of  couch)     STo  thanks. 

MARY.     Then  good  afternoon. 

GRIGGS.  (in  doorway  at  up  left  center)  So  long, 
Joe.  (A.  look  between  GARSON  and  GRIGGS.  GRIGGS 
nods  to  MARY,,  and  as  he  puts  on  his  hat  slowly  exits 
at  up  left  door  closing  it  after  him) 

(Fame  as  MARY  and  GARSON  catch  each  other's  eye 
and  GARSON  crosses,  and,  picking  up  chair  that 
GRIGGS  has  left  up  stage  replaces  it  left  of  left 
center  table,  then  speaks) 

GARSON.  That's  a  big  stake  he's  playing  for,  ain't 
it? 


WITHIN   THE   LAW  65 

MABY.  Yes,  and  a  big  chance  he's  taking,  too. 
(as  she  starts  to  cross  right  to  the  front  of  the  trick 
table  and  looking  through  the  magazine)  No,  Joe, 
we'll  play  the  game  that's  safe  and  sure. 

GARSON.  (coming  down  center)  It's  sure  enough, 
but  is  it  safe  ? 

MARY,  (looking  at  GARSON)  What  do  you 
mean  ? 

GARSON.  (crossing  to  MARY)  Suppose  the  bulls 
got  tired  of  you  putting  it  over  on  'em  and  tried 
some  rough  work? 

MARY,  (with  a  laugh,  returning  to  her  magazine) 
Don't  worry.  I  know  a  way  to  stop  it. 

GARSON.  (as  he  takes  revolver  from  his  pocket) 
Yes,  and  so  do  I. 

MARY,  (in  alarm  and  taking  hold  of  GARSON'S 
right  arm)  No,  Joe,  no,  none  of  that — ever. 

GARSON.  Even  if  I  used  it,  they'd  never  get  on 
to  me. 

MABY.  (as  she  removes  her  hand  from  his  arm) 
What  do  you  mean? 

GARSON.  (with  revolver  in  his  right  hand  hang 
ing  straight  down  by  his  side,  and  with  his  left 
hand  taking  "Silencer"  from  his  left  coat  pocket) 
See  this?  (hands  MARY  silencer  which  she  looks  at 
and  turns  over) 

MARY.     I've  never  seen  anything  like  that  before. 

GARSON.  (as  he  takes  the  silencer  and  adjusts  it 
to  the  revolver)  No  I'll  bet  you  didn't.  I'm  the 
first  man  in  the  business  to  get  one  and  I'll  bet  on  it. 
I'm  a  scientific  guy.  That's  what  they  call  a  "Maxim 
Silencer."  With  smokeless  powder  and  the  silencer 
I  can  fire  a  shot  from  my  coat  pocket  and  you'd 
never  know  it  had  been  done,  (drops  his  gun  hand 
down  straight  by  his  side) 

MARY,     (with  a  laugh)     Impossible. 


66  WITHIN    THE    LAW 

GARSON.  No  it  ain't;  here,  I'll  show  you.  (turns 
toward  bay  window  and  is  about  to  raise  his  arm  to 
fire  as  MARY  grabs  his  arm) 

MARY.  Joe,  you'd  have  the  whole  place  down  on 
us. 

G  ARSON,  (turning  to  MARY  with  a  laugh  and 
transferring  revolver  to  left  hand)  No  I  won't. 
You  stand  over  there,  (indicating  down  left) 

MARY.     NO !     NO ! 

GARSON.  Go  ahead,  it's  all  right.  (MARY 
crosses  left  around  table  at  left  center  with  G ARSON 
following  as  far  as  the  front  of  the  table  at  left  cen 
ter,  and  talking.  As  MARY  is  half  way  over  she 
turns  around  and  gives  the  gun  a  final  scared  look. 
As  GARSON  follows  he  again  takes  revolver  in  his 
right  hand)  If  you  can  tell  when  I  fire  I'll  eat  the 
gun. 

MARY,  (as  she  goes  up  toward  bay  window  up 
left)  Nonsense. 

GARSON.  No  it  ain't  nonsense,  (turning  toward 
vase  on  trick  table  and  talcing  aim  at  vase  of  flowers} 
You  turn  your  back  and  you  won't  hear,  (snaps  re 
volver.  Vase  of  flowers  breaks.  MARY  drops  maga 
zine  looks  at  GARSON  and  crosses  to  vase  of  flowers. 
As  MARY  crosses,  GARSON  follows  to  center  and  up  to 
MARY) 

MARY,  (after  a  pause)  I  wouldn't  have  believed 
it. 

GARSON.  (as  he  removes  silencer)  Neat  little 
thing,  ain't  it? 

MARY,  (crossing  around  right  of  trick  table  and 
down  stage)  Where  did  you  get  it? 

GARSON.  (replacing  revolver  in  his  pocket  and 
crossing  down  left  center)  Oh  I  got  it — over  in 
Boston  last  week,  (door  bell.  At  the  sound  of\  the 
door  bell  GARSON  turns  and  faces  the  door) 


WITHIN   THE   LAW  67 

MARY.    That  can't  be  Agnes  back  already. 

FANNIE,  (off  stage  left  center)  I'll  see  if  Miss 
Turner's  at  home. 

BURKE,  (off  stage  left  center)  That's  all  right. 
We'll  see  for  ourselves. 

GARSON.     (turning  to  MARY)     That's  Burke. 

MARY,  (standing  in  front  of  chair  down  right) 
Don't  worry:  he  can't  touch  us.  ( BURKE  opens  up 
left  center  door  and  just  hesitates  on  door  sill  as 
MARY  sits  in  chair  down  right)  An  Inspector ! 

BURKE,  (as  he  quickly  crosses  down  toward 
MARY  as  far  as  chair  to  the  left  of  trick  table  with 
out  removing  his  hat.  DEMAREST  follows  BURKE  in 
closing  the  door  after  him,  removes  his  hat  and 
quietly  comes  down  to  the  back  of  the  chair  right  of 
left  center  table)  Oh !  here  you  are. 

MARY.  Yes,  Inspector.  To  what  do  I  owe  the 
pleasure  ? 

BURKE.     I've  come  for  a  few  quiet  words  with  you. 

MARY.     Then  you  don't  want  Joe  ? 

BURKE,  (pause  as  he  turns  and  looks  at  GARSON) 
Not  yet. 

GARSON.  (as  he  quietly  advances  a  step  or  two  and 
w-ith  a  sneer)  I'm  much  obliged. 

MARY.    Will  you  excuse  us,  Joe  ? 

GARSON.  (as  he  crosses  to  BURKE  with  menace 
both  in  his  action  and  words,  BURKE  looking  him 
in  the  eye  and  just  a  slight  movement  of  straighten 
ing  up)  But  suppose  they  — ? 

MARY.     Please ! 

GARSON.  (quietly)  All  right.  (crossing  to 
door  up  left  center  then  as  he  turns  in  doorway) 
But  if  you  want  me,  just  call.  (GARSON  exits  up 
left  center  door.  BURKE  has  just  turned  his  head 
and  watches  GARSON  out.  At  the  closing  of  the  door 


68  WITHIN    THE    LAW 

BURKE  crosses  left  below  table  at  left  center,  then  up 
stage  as  far  as  the  doorway  left,  and  during  the  fol 
lowing  scene  back  down  stage  again  as  far  as  the 
front  of  the  table  at  left  center.  At  the  closing  of 
the  door  by  GARSON,  DEMAREST  crosses  over  to  MARY 
as  far  as  the  front  of  the  chair  left  of  trick  table) 

MARY.  (As  DEMAREST  comes  toward  her)  Ah, 
Mr.  Demarest,  it's  four  years  since  I  saw  you  last 
and  they've  made  you  District  Attorney  since  then. 
Allow  me  to  congratulate  you. 

DEMAREST.  (a  little  puzzled)  There  is  a— 
where  have  I  seen  you? 

MARY,  (rising)  Can't  you  guess?  (crossing  to 
DEMAREST  and  looking  into  his  face)  Try. 

DEMAREST.  (pause)  Why  you're  the  girl — why 
you're  the  Mary  Turner  that — Oh,  I  know  you  now. 

MARY.  I'm  the  girl  you  mean,  Mr.  Demarest,  but 
you  don't  know  me  at  all.  (turns  away  from  DEM 
AREST  with  her  back  to  trick  table) 

BURKE,  (interrupting.  During  BURKE'S  speech 
DEMAREST  quietly  turns  away  and  crosses  up  center) 
Young  woman,  the  Twentieth  Century  leaves  the 
Grand  Central  at  four  o'clock.  It  arrives  in 
Chicago  at  eight  fifty-five  tomorrow  morning,  (looks 
at  his  watch)  You'll  just  have  time  to  catch  that 
train. 

MARY.     Working  for  the  New  York  Central  now? 

BURKE,  (sternly)  I'm  working  for  the  good  of 
New  York  City. 

MARY,     (with  a  laugh)      Since  when? 

DEMAREST.  (quietly)  I  think  a  different  tone 
will  serve  you  better. 

BURKE.  Oh  let  her  talk — she's  only  got  a  few 
minutes  anyway. 

MARY,     (as  she  indicates  a  chair  right  of  table  at 


WITHIN"   THE   LAW  69 

lejt  center  and  sits  in  chair  left  of  trick  table) 
Let's  be  comfortable  then. 

BURKE.     You'd  better  be  packing  your  trunk. 

MARY.     Why?     I'm  not  going  away! 

BURKE,  (as  lie  crosses  to  MARY)  On  the  Twen 
tieth  Century  this  afternoon. 

MARY,  (with  a  smile}  Oh!  dear  no!  (DEMAR- 
EST  quietly  drops  down  to  the  position  BURKE  has 
j-utt  left) 

BURKE,     (a  little  louder  than  usual)      I  say,  yes. 

MARY.     I  thought  you  wanted  quiet  words. 

BURKE,  (in  his  natural  tone)  Now,  look  here, 
Mollie — 

MARY,  (sharply)  Miss  Turner,  if  you  please— 
(with  a  laugh) — for  the  present  anyway. 

BURKE,  (sternly)  I'm  givin'  you  your  orders. 
You'll  go  to  Chicago,  or  you'll  go  up  the  river. 

MARY.  If  you  can  convict  me — notice  that  little 
word,  if, 

DEMAREST.     (suavely)     I  ,did  it  once,  remember. 

MARY.     But  you  can't  do  it  again. 

BURKE.     How  do  you  know  he  can't? 

MARY.  Because  if  he  could,  you'd  have  had  me  in 
prison  some  time  ago. 

BURKE,  (with  a  look  at  DEMAREST  and  a  cynical 
smile)  I've  seen  'em  go  up  pretty  easy. 

MARY,  (seriously)  The  poor  ones,  yes — but  not 
those  who  have  money,  and  I  have  money  now. 

BURKE.     Money  you  stole. 

MARY,     (in  mock  seriousness)      Oh,  dear,  no — 

BURKE.  What  about  that  thirty  thousand  you  got 
in  that  partnership  swindle?  (sarcastically)  I  sup 
pose  you  didn't  steal  that? 

MARY,  (ivith  a  laugh}  Certainly  not!  (seri 
ously)  A  man  advertised  for  a  partner  in  a  busi 
ness  sure  to  bring  large  and  safe  returns.  I  answered 


70  WITHIN    THE   LAW 

the  advertisement.  What  the  business  man  pro 
posed  was  to  buy  a  tract  of  land  and  sub-divide  it. 
The  deeds  to  the  land  were  all  forged  and  the  sup 
posed  seller  was  his  confederate  with  whom  he  was  to 
divide  my  money.  We  formed  a  partnership  with  a 
capital  of  sixty  thousand  dollars — he  put  the  money 
in  the  bank  and  I  promptly  drew  it  out.  He  wanted 
to  get  my  money  illegally,  instead  of  which  I  man 
aged  to  get  his  legally,  for  it  was  legal,  (turning  to 
MR.  DEMAREST)  Wasn't  it,  Mr.  Demarest? 

DEMAEEST.  Yes,  unfortunately !  A  partner  has 
the  right  to  draw  out  any  or  all  of  the  partnership 
funds. 

MARY.  And  I  was  his  partner.  So  you  see  you 
wrong  me,  Inspector.  I'm  not  a  swindler,  (with  a 
laugh)  I'm  a  financier. 

BURKE,  (sarcastically)  Yes.  Well  you'll  never 
pull  another  one  on  me,  you  can  gamble  on  that. 

MARY.  Won't  I  ?  Miss  Lynch,  at  the  present 
moment,  is  painlessly  extracting  ten  thousand  dollars 
from  General  Hastings,  in  a  perfectly  legal  manner, 
Inspector  Burke. 

BURKE,  (with  a  sneer)  Oh,  she  is,  eh?  (sternly) 
Well  you  may  stay  within  the  law  but  you've  got  to 
get  outside  the  city,  (coaxingly)  On  the  level 
now,  did  you  think  you  could  get  away  with  that 
young  Gilder  scheme  you're  planning? 

MARY,     (innocently)     What  young  Gilder  scheme  ? 

BURKE.     That's  all  right — I'm  wise — I'm  wise. 

MARY,     (with  a  laugh)      Yes  you  are. 

BURKE,  (sternly)  Once  for  all,  you  leave  town 
this  afternoon  or  you'll  be  in  the  Tombs  in  the  morn 
ing. 

MARY,  (as  she  rises  and  crosses  to  center,  DEMAR 
EST  steps  back,  out  of  the  way)  It  can't  be  done, 
Inspector,  (turns  and  looks  back  over  her  shoulder 


WITHIN   THE   LAW  71 

at  BURKE)  It  can't  be  done.  (then  crosses  to 
drawer  in  left  side  of  table  at  left  center  and  opens 
the  drawer) 

BURKE,  (following  MARY  as  far  as  the  lower  left 
corner.  As  soon  as  BURKE  is  in  position  DEMAREST 
drops  quietly  down  to  BURKE'S  right)  Who  says  it 
can't? 

MARY,  (as  she  is  getting  paper  from  drawer) 
This. 

BURKE.     And  what's — this? 

MARY,  (handing  BURKE  legal  papers  and  coming 
down  to  the  lower  end  of  table.  While  he  proceeds 
to  open  the  paper  and  glances  at  it)  A  temporary 
restraining  order  from  the  Supreme  Court  instruct 
ing  you  to  let  me  alone  until  you  have  legal  proof 
that  I  have  broken  the  law. 

BURKE.  Another  new  one.  (folding  up  paper) 
But  you  can't  do  it. 

MARY,  (seriously  and  earnestly)  Oh  can't  I? 
A  gambling  house  can  get  one  and  go  on  breaking 
the  law,  a  race  track  can  get  one  and  laugh  at  the 
law,  a  railroad  can  restrain  their  employees  from 
striking.  Why  shouldn't  I  get  one  too?  I  have 
money,  I  can  buy  all  the  LAW  I  want ;  and  there's 
nothing  you  can't  do  with  the  law  if  you  have  money. 
(with  a  laugh)  Ask  Mr.  Demarest,  he  knows.  (MARY 
crosses  up  to  the  side  of  the  chair  left  of  table  at 
left  center  with  her  face  up  stage) 

BURKE,  (looking  at  DEMAREST)  Can  you  tie  that? 
(hands  DEMAREST  legal  paper  which  DEMAREST  opens 
and  looks  at  and  then  folds  up.  Then  as  BURKE 
crosses  up  to  back  of  chair  right  of  table  at  left  cen 
ter)  A  crook  appealing  to  the  law. 

MARY.  And  getting  justice — that's  the  remark 
able  part  of  it!  (turning  so  that  she  faces  both 
BURKE  and  DEMAREST  and  with  a  challenge  in  her 


72  WITHIN    THE    LAW 

voice)      Well,  gentlemen,  what  are  you  going  to  do 

about  it? 

BURKE,  (sternly)  This  is  what  I'm  going  to  do, 
one  way  or  the  other.  I'm  going  to  get  you. 

DEMUREST,  (crossing  to  table  and  laying  paper  on 
it  then  stepping  back.  Gently  and  persuasively) 
I'm  going  to  appeal  to  your  sense  of  fair  play. 

MARY,  (as  she  turns  away)  That  was  killed 
four  years  ago. 

DEMUREST.    Let  young  Gilder  alone. 

MARY,  (turning  to  DEMAREST,  strong)  His 
father  sent  me  away  for  three  years,  and  he's  got  to 
pay  me. 

BURKE,  (quietly)  Don't  fool  yourself,  my  girl, 
you  can't  go  through  with  it.  There's  always  a  weak 
link  in  the  chain  somewhere  and  I'm  going  to  find  it. 

MARY,  (turning  and  looking  at  BURKE.  Seri 
ously)  Now  you  sound  really  dangerous.  (GARSON 
enters  up  left  door,  closing  it  after  him  and  speaJcs 
as  he  is  crossing  down  to  BURKE'S  left  just  above 
MARY) 

GAHSON.     Mary,  I  want  to  see  you  a  minute. 

MARY,     (to  BURKE)      Excuse  me,  please. 

BURKE,  (to  MARY)  Nothing  doin'.  (to  GARSON) 
What  is  it? 

GARSON.     Something  private. 

BURKE.  Private  things  don't  go.  (sternly)  Out 
with  it. 

MARY.  Tell  then,  Joe.  There's  nothing  we  need 
be  afraid  of. 

GARSON.     Old  man  Gilder's  here. 

BURKE,  (as  he  crosses  bach  of  DEMAREST  to  down 
right  in  front  of  trick  table.  Surprised)  Gilder! 

DEMAREST.     (surprised)     Here  ? 

GARSON.     That's  what  I  said. 

MARY,     (as  she  shows  pleasure)     Have  Mr.  Gilder 


WITHIN   THE   LAW  78 

come  in,  Joe.  (GARSON  crosses  to  door  up  left  center, 
holds  it  open  and  nods  to  MR.  GILDEK.  MARY  taking 
stage  down  left)  It  seems  I  am  having  quite  a  num 
ber  of  distinguished  callers  today. 

DEMAREST.  (to  BURKE)  He  shouldn't  have  come. 
(starting  to  door  up  left  center  and  gets  as  far  as 
the  head  of  the  couch)  Burke  and  I  will  attend 
to  this  Mr.  Gilder.  (MR.  GILDER  enters  and  drops 
his  hat  on  the  table  in  the  hall,  passes  DEMAREST 
at,d  comes  down  before  table  at  left  center  and  to  the 
right  of  it  facing  MARY  who  has  her  lack  half  to 
Mm.  DEMAREST  comes  down  to  upper  end  of  table 
at  left  center  as  soon  as  MR.  GILDER  pass  him) 

GILDER,  (in  a  hard  mechanical  tone)  So  you  are 
the  woman. 

MARY.     I  am  the  woman.     What  do  you  want? 

GILDER.     My  son. 

MARY.     Have  you  seen  him  lately  ? 

GILDER.     No. 

MARY.     Then  why  do  you  come  ? 

GILDER.  Because  I  intend  to  save  my  boy  from  a 
great  folly.  I  am  informed  that  he  is  infatuated 
with  you  and  Inspector  Burke  tells  me — tells  me — 

BURKE,  (starting  a  step  or  two  forward)  I  tell 
you  she's  an  ex-convict. 

GILDER.     Is  this  true  ? 

MARY,     (positively)     It  is. 

BURKE.  You'd  better  leave  her  to  me.  (crosses 
toward  MARY  but  just  as  he  reaches  MR.  GILDER  on 
his  last  word  MR.  GILDER  checks  him  with  a  slight 
movement  of  his  arm  without  talcing  his  eyes  off 
MARY)  Now  see  here,  you — ! 

GILDER,  (stopping  him)  If  you  please,  inspector — 
Of  course  you  don't  really  care  for  my  son — (  BURKE 
turns  in  disgust  and  crosses  right  to  his  former  posi- 


74  WITHIN    THE    LAW 

/ion)  so  how  much  will  you  take  to  go  away — how 
much? 

MARY.  I  don't  want  money.  Inspector  Burke  can 
tell  you  how  easy  it  is  for  me  to  get  it. 

DEMAREST.     If  you'll  permit  me,  Mr.  Gilder — 

GILDER,  (calmly  and  ivitliout  taking  his  eyes  off 
MARY)  I  think  this  matter  can  be  settled  between 
this  woman  and  me.  (DEMAREST  crosses  right  to 
back  of  chair  left  of  trick  table,  as  GILDER  continues) 
Do  you  want  my  son  to  learn  what  you  are? 

MARY.     Why  not  ?     I'll  tell  him  myself. 

GILDER.  I  don't  want  him  to  know.  I've  spared 
the  boy  all  his  life.  If  he  really  loves  you  - 

DICK,  (speaking  outside  and  entering  up  left 
center  door  during  the  line,  closes  door  after  him  and 
puts  his  hat  on  the  couch.  At  the  sound  of  DICK'S 
voice  MR.  GILDER  takes  a  step  or  two  hack  and  half 
turns  toward  door)  I  didn't  see  father  but  I  left 
him —  (turns  and  sees  his  father  and  comes  down 
stage  and  as  he  passes  chair  right  of  table  at  left  cen 
ter  draws  it  ivith  him  by  the  back  until  he  stands  fac 
ing  his  father  with  his  back  leaning  against  the  chair. 
This  business  is  done  as  he  is  speaking  his  next  line) 
Hello,  dad,  you  got  my  note  ? 

GILDER.     No,  I've  had  no  note. 

DICK.  Then  why — ?  (DICK  looks  over  his  father's 
shoulder  and  sees  BURKE  and  DEMAREST)  what  are 
they  doing  here  ? 

MARY.  Never  mind  them.  Tell  your  father  your 
news. 

DICK,  (as  he  crosses  down  to  MARY  and  puts  his 
hands  on  her  shoulders  and  looks  over  her  shoulders 
into  her  face)  Dad,  we're  married.  Mary  and  I 
were  married  this  morning. 

GILDBR.    What ! 


WITHIN   THE   LAW  75 

MARY,  (in  exultation)  I  married  your  son  this 
morning.  Do  you  understand,  Mr.  Gilder,  I  married 
him. 

BURKE,  (tempestuously)  It's  a  frame  up!  Tell 
your  father  it  ain't  true.  Why,  do  you  know  what 
she  is?  She's  done  time  and  by  God  she'll  do  it 
again. 

DICK,  (turning  to  them)  That's  a  lie.  (to 
MARY)  Mary,  say  it's  a  lie. 

MARY,  (as  she  turns  to  Dick  and  takes  a  step 
lack)  It's  the  truth. 

BURKE.    What  did  I  tell  you? 

DICK.     You  have  — 

MARY,  (looking  squarely  at  DICK)  I  have  served 
three  years. 

GILDER,  (to  DICK)  I  wanted  to  save  you  from 
this. 

DICK,     (facing  -front)      But  there's  a  mistake. 

DEMAREST.     There  isn't. 

DICK.  I  say  there  is.  (pleading)  Mary,  say 
there's  a  mistake — say  there's  a  mistake. 

MARY.  It's  all  quite  true,  (pause  as  DICK  stag 
gers  back,  with  his  hand  over  his  eyes,  against  left 
side  of  table  at  left  center  and  sinks  into  a  sitting 
position  with  bowed  head  on  the  table) 

GILDER.     Do  you  see  what  you've  done  to  my  boy  ? 

MARY,  (controlling  her  emotion  and  starting  to 
ward  GILDER)  And  what  is  that  compared  to  what 
you  have  done  to  me  ? 

GILDER.     What  I  have  done  to  you  ? 

MARY,  (up  to  GILDER;  GILDER  breaks  ground 
a  step  or  two  during  the  speech)  Yes,  do  you  re 
member  what  I  said  to  you  the  day  you  had  me  sent 
away  ? 

GILDER,  (as  he  starts  to  cross  in  front  of  her  to 
DICK)  I  don't  remember  you  at  all. 


76  WITHIN    THE    LAW 

MARY,  (stepping  in  front  of  Mm  and  Hocking 
him)  Don't  you  remember  Mary  Turner,  who  was 
arrested  four  years  ago  for  robbing  your  store? 
( GILDER  shoivs  he  begins  to  remember  and  breaks 
ground  a  step  or  two  and  a  little  up  stage)  who 
swore  she  was  innocent,  and  who  would  have  got  off 
if  you  hadn't  asked  the  judge  to  make  an  example  of 
her? 

GILDER.     You  are  that  girl? 

MARY.  T  am  that  girl.  (DiCK  starts  to  take  notice 
of  what  is  being  said  and  slowly  rises  and  turns  and 
drops  to  lower  s-ide  of  table  at  left  center)  You 
helped  smash  my  life,  you  put  me  behind  the  bars, 
you  owe  ine  for  all  that  and  I  have  just  begun  to 
collect. 

GILDER.     And  that  is  why  you  married  my  boy? 

MARY.    It  is. 

DICK.     It's  not. 

BURKE,  (as  he  takes  a  step  toward  MARY)  Now 
see  here  — 

DICK.  You  keep  out  of  this.  ( BURKE  turns  and 
takes  his  former  position) 

DEMAREST.    But  Dick — 

DICK.  And  you.  (as  he  puts  his  hands  on  MARY'S 
shoulders.  She  is  standing  facing  GILDER)  This  is 
my  affair.  (to  MARY  as  he  turns  her  slightly  down 
stage  speaking  over  her  shoulder.  MARY  keeps  her 
eyes  on  GILDER)  You  married  me  because  you 
loved  me. 

MARY.     I  didn't. 

DICK.     And  you  love  me  now. 

MAKY.    No !     NO ! 

DICK.     You  love  rne  now. 

MARY.     I  don't. 

DICK.     Look  me  in  the  face  and  say  that.      (DiCK 


WITHIN   THE   LAW  77 

iurm  MARY  so  that  she  faces  him  and  holding  both 
her  arms)     Look  me  in  the  face  and  say  that. 

MARY.    I  don't  love  you. 

DICK,  (as  his  hands  slip  down  to  both  her  wrists 
and  he  tries  to  draw  her  to  him)  Just  the  same 
you're  my  wife  and  I'm  going  to  make  you  love  me. 

MARY.    You  can't.     You're  his  son. 
DICK.     I'm  going  to  make  you  love  me.     I  don't 
care  what  you've  done. 
BURKE.    She's  a  crook ! 

DICK,  (to  BURKE)  I  don't  give  a  damn  what  she's 
been,  (to  MARY)  Do  you  hear,  I  don't  care  what 
you've  been  ?  From  now  on  you'll  go  straight.  You'll 
walk  the  straightest  line  a  woman  ever  walked.  (MARY 
who  has  had  her  head  turned  away  from  him  during 
this  speech  now  starts  to  draw  DICK  up  stage  until 
they  reach  the  chair  that  DICK  placed  on  his  entrance,, 
then  DICK  puts  his  right  knee  on  the  chair  and  as 
MARY  continues  to  draw  away  she  gets  around  the 
chair  and  above  DICK  and  on  the  last  few  words  of 
his  speech  he  draws  her  around  in  front  of  him  again 
and  on  his  last  word  forces  her  hands  to  the  back  of 
the  chair,  thus  forcing  her  to  look  at  him)  You'll 
put  all  thoughts  of  revenge  out  of  your  heart —  (DiCK 
knees  on  chair)  because  I'm  going  to  make  (DiCK 
draws  MARY  around  to  face  him)  you  love  me.  (a 
pause  as  MARY  gives  DICK  one  look  of  wonder  when 
BURKE  breaks  in  sharply) 

BURKE.     She's  no  good,  I  tell  you,  she's  a  crook. 

MARY.  (MARY  turning  quickly  to  face  BURKE  and 
forcing  her  wrists  away  from  DICK.  DICK  off  chair 
and  back  against  table  at  left  center)  And  if  I  am, 
who  made  me  one?  You  can't  send  a  decent  girl  to 
prison  and  hg^e  her  come  out  anything  else. 


78  WITHIN"   THE   LAW 

BURKE,  (sarcastically)  She  didn't  even  get  her 
time  off  for  good  behavior. 

MARY.  And  I'm  proud  of  it.  (to  GILDER)  Do 
you  know  what  goes  on  behind  those  stone  walls? 
(to  DEMAREST  as  she  takes  a  couple  of  steps  up 
stage)  Do  you,  Mr.  District  Attorney,  whose  busi 
ness  it  is  to  send  girls  there?  Do  you  know  what  a 
girl  is  expected  to  do  so  that  she  can  get  time  off  for 
good  behavior?  If  you  don't,  (starts  down  stage  and 
with  horror  in  her  voice)  ask  the  keepers. 

GILDER.    And  you  ? 

MARY,  (as  she  turns  to  face  GILDER  and  with  her 
back  to  the  chair  DICK  placed  on  his  entrance)  I 
served  every  minute  of  my  time:  three  full,  whole 
years.  Do  you  wonder  I  want  to  get  even — that 
someone  has  got  to  pay?  (a  step  to  GILDER)  Four 
years  ago  you  took  away  my  name  and  gave  me  a. 
number.  Now  I've  given  up — (ring  curtain  down) 
that  number  and  I've  got  your  name. 

CURTAIN 


ACT   III 

SCENE    I 

TIME: — The  next  night  at  half-past  ten. 

SCENE: — Library  in  EDWARD  GILDER'S  house.  At 
right  is  a  practical  lay  window  with  tapestry 
portieres.  Across  the  back  at  center  is  a  fire 
place.  Right  of  the  fire-place  is  a  door  leading 
into  another  room.  Left  of  the  fireplace  is  a 
bookcase.  The  walls  over  the  door  up  right, 
fireplace,  and  both  bookcases  are  covered  with 
tapestry.  At  the  left  second  entrance  is  a  door 
which  leads  into  the  hall.  Below  this  door  is 
another  bookcase.  To  the  left  of  the  fireplace 
and  between  it  and  the  bookcase  is  a  chair  and 
another  chair  is  in  front  of  the  fireplace.  Down 
right  is  a  library  table  with  a  practical  lamp  on 
the  right  middle  side  and  a  'phone  on  the  right 
upper  end.  On  the  surbase  just  beloiv  the  bay 
window  is  the  practical  bell  box  of  the  'phone. 
Down  left  is  a  couch  set  diagonally.  Back  of 
the  couch  is  a  small  square  table  with  a  practical 
lamp,  box  of  cigarettes  and  box  of  matches  on  it. 
On  the  wall  left  between  the  door  and  the  book 
case  is  a  push-button  switch  which  is  supposed 
to  control  chandelier,  but  does  not. 

LIGHTS: — Foots  up,  amber,  no  borders.  Both  table 
lamps  lit,  with  amber  shades  and  globes.  Chan 
deliers  not  on  in  SCENE  i  but  on  and  off  with 
foots  on  cues  in  SCENE  IT.  Chandelier  has  amber 
shades  and  amber  globes.  Moonlight  in  bay 
79 


80  WITHIN   THE  LAW 

window  to  be  flashed  on  and  off  on  cue,  once  in 
SCENE  i  and  once  in  SCENE  n. 

AT  BISE: — MR.  GILDEB,  wearing  dinner  clothes,  is 
discovered  seated  at  the  table  at  right  center 
reading  a  book.  After  a  short  pause,  the  door 
at  left  opens  and  DICK  enters,  closing  the 
door  after  him  and  coming  to  back  of  couch 
above  table.  He  is  in  dinner  clothes.  As  he 
enters  MR.  GILDEE  looJcs  up,  then  goes  on  with 
his  reading. 

DICK,  (as  DICK  speaks  he  comes  around  to  the 
front  of  couch)  I'm  awfully  sorry  I'm  so  late,  Dad. 

GILDER,  (without  raising  his  eyes)  Where  have 
you  been?  With  that  woman  again? 

DICK,  (coming  around  upper  end  of  couch  to 
front  of  it)  She  won't  see  me. 

GILDER.  Naturally.  She's  got  all  she  wants  from 
you:  my  name! 

DICK,  (to  lower  end  of  couch  and  sits)  It's 
mine,  too,  you  know,  sir. 

GILDER,  (turning  to  DICK)  Dick,  you're  all  I 
have,  my  boy.  You'll  have  to  free  yourself  from  this 
woman  somehow.  You  owe  me  that  much. 

DICK.  Dear  old  dad,  I  owe  you  everything  in  the 
world,  but  I  owe  something  to  her,  too — 

GILDER.  What  can  you  owe  her?  She  tricked 
you  into  this  marriage — it's  not  even  that,  she's  sim 
ply  fooled  you  into  a  wedding  ceremony.  Now  it's 
for  us  to  get  you  out  of  this  scrape  - 

DICK.     I'm  not  certain  that  I  want  to  get  out  of  it. 

GILDEK.  You  want  to  stay  married  to  this  jail 
bird? 


WITHIN  THE   LAW  81 

DICK,  (rising  sharply)  I'm  very  fond  of  her, 
dad. 

GILDER.    Now  that  you  know? 

DICK.  Now  that  I  know,  (as  DICK  crosses  to 
GILDER  at  the  table)  Don't  you  see  she's  justified 
in  a  way,  in  her  own  mind,  I  mean  ?  She  was  inno 
cent  when  she  was  sent  to  prison.  She  feels  that 
society  owes  her  something — 

GILDER.  Don't  talk  nonsense.  I  suppose  you'll 
argue  next  that  because  she's  clever  enough  to  keep 
within  the  law  since  she  got  out  of  State's  Prison 
that  she's  not  a  criminal.  (DiCK  crosses  to  center) 
A  crime's  a  crime  whether  the  law  touches  it  or  not. 
There's  only  one  course  open  to  you,  my  boy:  you 
must  give  this  girl  up. 

DICK,  (crossing  to  left  center)  I've  told  you, 
dad,  that  I  can't. 

GILDER,  (rising  and  crossing  to  DICK)  You 
must,  I  tell  you.  (pause  then  softly)  If  you  don't 
what  are  you  going  to  do  the  day  your  wife  is  thrown 
into  a  patrol  wagon  and  carried  down  to  police- 
headquarters?  (DiCK  turns  to  GILDER  as  if  about  to 
speak)  for  it's  sure  to  happen.  The  cleverest  people 
make  mistakes  and  some  day  she'll  make  one ! 

DICK.    But  she  isn't  going  to  - 

GILDER.  (DiCK  turns  away)  They'll  stand  her  in  a 
line  and  the  detectives  will  walk  past  her  with  masks 
on  their  faces;  her  picture  is  already  in  the  Eogues' 
Gallery,  but  they'll  take  another — yes,  and  the  im 
prints  of  her  fingers,  and  the  measurements  of  her 
body. 

DICK,     (turning  quickly  to  GILDER)     Father! 

GILDER.  That' s  what  they'll  do  to  your  wife,  the 
woman  who  bears  your  name  and  mine ;  now  what  are 
you  going  to  do  about  it? 


82  WITHIN   THE   LAW 

DICK.  It  will  never  happen.  She'll  go  straight. 
You  don't  know  her  as  I  do.  (sits  on  lower  end  of 
couch) 

GILDER,  (crossing  to  Dick)  Be  sensible,  my 
boy,  be  sensible. 

DICK.  Why  Dad,  she's  young — she's  just  like  a 
child  in  a  hundred  ways.  She  loves  everything  that's 
simple  and  real !  And  as  for  her  heart,  dad — I've 
seen  her  pick  up  a  baby  that  had  fallen  in  the  street 
and  mother  it  in  a  way  that — well  no  one  could  do 
it  as  she  did  unless  her  soul  was  clean. 

GILDER.  After  what  you  heard  her  say  yesterday, 
you  still  think  that  ? 

DICK.    I  don't  think — I  know. 

GILDER.  Do  you  realize  what  you  are  doing? 
Don't  go  to  smash  just  at  the  beginning  of  your  life. 
Put  this  woman  out  of  your  thoughts  and  start 
afresh. 

DICK.    I  can't. 

GILDER,  (putting  his  left  hand  on  DICK'S  right 
shoulder)  You're  all  I  have,  my  boy. 

DICK,  (rising)  Dad,  I  know,  I'm  sorry — if  I 
could  avoid  it,  I  wouldn't  hurt  you  for  anything  in 
the  world — but  I've  got  to  fight  this  out  in  my  own 
way.  (crossing  in  front  of  GILDER  and  above  the 
table  at  right  to  lay  window)  And  I'm  going  to. 
(MR.  GILDER  starts  toward  DICK.  THOMAS  'enters 
right  door  and  MR.  GILDER  stops  as  THOMAS  stands 
with  card  tray  and  card  just  inside  the  door,  which  he 
closes  after  him) 

GILDER,     (at  center)     Well,  Thomas? 

THOMAS.     A  man  to  see  you,  sir. 

GILDER.  I  can't  see  anyone  tonight,  (starts  to 
cross  to  DICK  at  first  word  of  THOMAS) 


WITHIN   THE   LAW  83 

THOMAS,  (as  he  crosses  down  to  GILDER'S  left) 
He  says  it's  very  important,  sir.  (offers  GILDER  a 
card  on  a  tray) 

GILDER,  (takes  card  and  reads)  Inspector 
Burke.  (to  THOMAS)  Show  him  in.  (THOMAS 
crosses  to  door  left  and  exits  leaving  door  open) 

DICK.     Burke!      (starts  toward  door  up  right) 

GILDER.  Better  wait  a  minute.  You  may  as  well 
get  used  to  visits  from  the  police.  (DiCK  comes 
down  to  right  upper  corner  of  table  at  right.  Enter 
THOMAS,  stands  above  door  facing  down  stage. 
BUHKE  follows  THOMAS  in  and  crosses  to  table  at 
bach  of  couch  and  puts  his  hat  on  it,  then  goes  around 
upper  end  of  couch  to  GILDER.  THOMAS  exits  left 
closing  door  after  him) 

GILDER,  (at  BURKE'S  entrance)  Good  evening 
Inspector — you  wish  to  see  me? 

BURKE.  Yes.  (DiCK  starts  for  door  up  right)  I 
want  to  see  you,  too,  young  man.  (DiCK  stops  and 
turning  comes  down  to  right  side  of  table  at  right 
center) 

GILDER.     Well,  Burke? 

BURKE.     Well,  she's  skipped. 

DICK.     I  don't  believe  it. 

BURKE,  (to  GILDER)  She  left  this  afternoon  for 
Chicago.  I  told  you  she'd  go.  Now  all  we  have  to 
do  is  to  get  this  boy  out  of  this  scrape  and  we're  all 
right. 

GILDER.     If  we  only  could. 

BURKE.  Oh,  I  guess  we  can  find  some  way  to  have 
the  marriage  annulled — (DiCK  gives  BURKE  a  look  of 
anger)  or  whatever  they  do  to  marriages  that  don't 
take. 

DICK,     (angrily)     Don't  you  interfere  in  this. 

BURKE.  Interfere?  (as  he  crosses  to  the  left  of 
table  at  right  center)  Huh !  That's  what  I'm  paid 


84  WITHIN    THE    LAW 

to  do.  (quietly,  with  meaning)  Listen  to  me,  son: 
the  minute  you  begin  mixing  up  with  crooks  you 
ain't  in  a  position  to  give  orders  to  anyone.  A 
crook's  got  no  rights  in  the  eyes  of  the  police.  Just 
remember  that. 

DICK,  (all  anger  gone)  So  she's  going  to 
Chicago. 

BURKE.     Yes. 

DICK.     Where's  she  going  in  Chicago? 

BURKE.  I'm  no  mind  reader,  but  she's  a  swell 
little  girl :  I've  got  to  hand  it  to  her  for  that  any 
way — she'll  probably  stop  at  the  Blackstone — that  is 
until  the  Chicago  police  are  tipped  off  that  she's  in 
town. 

DICK.  Burke,  give  me  a  chance — I'll  leave  for 
Chicago  in  the  morning.  Give  me  twenty-four  hours 
start  before  you  begin  hounding  her. 

BURKE.     That  sounds  reasonable. 

GILDER,  (as  he  quietly  comes  down  to  BURKE'S 
left)  You  shan't  go,  Dick.  You  shan't  go. 

BURKE,  (to  GILDER)  Why  not?  It's  a  fair 
gamble  and  I  like  the  boy's  nerve. 

DICK,      (to  BURKE)      And  you'll  agree? 

BURKE.     Yes. 

DICK.  ((is  lie  starts  for  door  up  right)  Thank 
you. 

GJLDER.      (turning  toward  DICK)      You  shan't  go. 

BURKE,  (aside  to  GILDER  as  he  crosses  to  down 
rig/it  corner  of  table  at  right  and  then  turns  to  face 
GILDER)  Keep  still,  it's  all  right. 

DICK,  (turns  at  door  up  right  and  then  crosses 
down  to  lower  left  corner  of  table  at  right  and  faces 
BURKE)  You  give  me  your  word  that  you  won't 
notify  the  police  in  Chicago  until  I've  been  there 
twenty-four  hours  ? 


WITHIN   THE    LAW  85 

BURKE.  You're  on.  They  won't  get  a  whisper 
out  of  me  until  the  time's  up. 

DICK,  (as  he  starts  to  door  up  right)  Thank 
you 

GILDER.  But  Dick — (DICK  is  just  on  a  level 
with  his  father  and  turns  to  him  with  his  back  to  th® 
audience)  I'm  sorry  Dad,  but  I've  got  to  do  what  I 
think  is  the  right  thing,  (up  to  door  up  right  and 
exit  closing  door  after  him) 

BURKE,  (as  he  starts  across  stage  left  to  the  lower 
end  of  couch)  Sure  you  have.  (DiCK  exits) 
That's  the  best  any  of  us  can  do.  (pause  as  GILDER 
goes  to  armchair  back  of  table  at  right  and  sits. 
BURKE  turns  at  lower  end  of  couch  and  looks  at  him) 

BURKE.  (as  he  crosses  up  center)  He'll  go  to 
Chicago  in  the  morning? 

GILDER,     Certainly. 

BURKE.  Best  thing  that  could  happen,  (pause) 
He  won't  find  her  there. 

GILDER,  (in  surprise)  What  makes  you  think 
that? 

BURKE,  (with  a  chuckle)  Because  she  didn't  go 
there. 

GILDER.     Where  did  she  go  then? 

BURKE.  Nowhere — yet.  But  just  about  the  time 
he's  starting  for  the  west,  I'll  have  her  down  to  Police 
Headquarters,  Demarest  will  have  her  indicted  be 
fore  noon,  she'll  get  on  trial  in  the  afternoon,  and 
tomorrow  night  she'll  be  sleeping  up  the  river.  That's 
where  she's  going. 

GILDER,     (rising)      But  how  can  you  do  that? 

BURKE,  (as  he  crosses  to  GILDER)  Maybe  I 
can't — but  I  will.  Think  I'm  going  to  let  this  girl 
make  a  joke  of  the  Police  Department?  Listen— 
this  is  where  I'll  get  her — her  gang  is  going  to  break 
ioto  your  house  tonight. 


S6  WITHIN   THE   LAW 

^  GILDER.  She's —  (stepping  toward  window  at 
right)  coming  here,  (looking  out  window,  then  back 
to  right  side  of  table  -facing  BUEKE)  A  thief? 

BURKE.  Not  if  I  know  her  she  won't.  She's  too 
clever  for  that.  Why  if  she  even  knew  what  Garson 
was  up  to  tonight,  there  isn't  anything  in  the  world 
she  wouldn't  do  to  stop  him. —  (pause  as  BURKE 
shows  that  he  has  thought  of  something)  By  God, 
I've  got  her.  (as  he  drops  quickly  into  chair  back 
of  table  right  and  pulls  the  'phone  toward  him)  Can 
I  use  your  'phone? 

GILDER.     Certainly. 

BURKE,  (into  'phone)  Give  me  thirty-one  hun 
dred  Spring,  (to  GILDER)  Maybe  it  isn't  too  late. 
I  must  have  been  out  of  my  head  not  to  have  thought 
of  it  before.  (into  'phone)  Headquarters?  In 
spector  Burke  speaking.  Who's  in  my  office  ?  (short 
pause)  I  want  him  quick.  (to  GILDER)  Smith's 
the  best  man  I've  got.  We're  in  some  luck  anyhow. 
(into  'phone)  Oh  Ed,  send  someone  up  to  the 
Turner  woman's  flat — tip  her  off  that  Joe  Garson, 
Chicago  Red  and  Tom  Dacey  are  going  to  break  into 
Edward  Gilder's  house  tonight.  Get  some  stool  to 
hand  her  the  information,  and  you've  got  to  work 
quick.  Hold  on — (pause  as  BURKE  looks  at  his 
watch)  It's  ten  thirty  now.  She  went  to  the 
Eltinge  Theatre  with  some  woman.  Try  to  get  her 
as  she's  leaving  there,  you'll  have  to  hustle.  If  you 
miss  her  at  the  theatre,  have  the  man  go  to  the  house 
for  her.  That's  all.  (hangs  up  receiver) 

GILDER.     What  good  will  all  that  do? 

BURKE.  She'll  come  here  to  stop  them  and  we'll 
grab  her  when  we  get  the  rest  of  the  gang,  (as  he 
slaps  the  table  and  rises  and  crosses  to  center)  God, 
I'll  be  glad  to  get  Garson.  (turning  to  GILDER) 
Mr.  Gilder,  I've  tried  for  twenty  years  to  land  that 


WITHIN   THE   LAW  87 

crook;  but  he  managed  to  slip  through  my  fingers 
every  time.  Just  ring  for  your  man,  will  you  please, 
Mr.  Gilder?  (GILDER  presses  call  'button  under 
table  edge  and  flashlight  from  Metropolitan  tower 
floods  the  room  with  a  white  light  for  a  few  minutes. 
BURKE  with  some  surprise)  What's  that? 

GILDER.  That's  the  flashlight  from  the  Metro 
politan  Tower.  (BURKE  turns  and  crosses  up  center 
facing  door  left.  MR.  GILDER  goes  to  the  portieres, 
and  during  the  remainder  of  the  speech  draws  them 
over  the  bay  window)  The  servants  forgot  to  draw 
the  curtains.  It  won't  bother  us  again.  (THOMAS 
enters  door  left  closing  the  door  after  him.  MR. 
GILDER  turns,  facing  THOMAS  and  BURKE,  and  stand 
ing  at  the  portieres) 

BURKE.  My  man,  I  want  you  to  go  up  on  the  roof 
and  open  the  scuttle.  You'll  find  three  men  up 
there.  Bring  them  down  here,  (a  frightened  start 
from  THOMAS)  Oh,  they  won't  hurt  you.  They're 
police  officers.  Then,  you  go  to  bed  and  stay  there 
till  morning,  understand?  (THOMAS  looks  at 
GILDER) 

GILDER.     Do  as  the  Inspector  tells  you,  Thomas. 

THOMAS.  (as  he  starts  across  the  stage  right) 
Very  good  sir.  ( BURKE  watches  THOMAS  as  he  crosses 
and  exits  at  right  upper  door,  closing  door  after  him) 

GILDER,  (as  Burlce  comes  down  center  and  he 
crosses  to  BURKE  at  center)  How  do  you  know  they 
are  going  to  break  into  this  house,  or  do  you  only 
think  they  are  ? 

BURKE.     I  know  they  are.    I  fixed  it. 

GILDER.    You  did? 

BURKE.     Sure !     Through  a  stool  pigeon. 

GILDER.     Oh,  an  informer. 

BURKE.  Sure.  The  stool-pigeon  in  this  trick  is 
a  swell  English  crook  named  Griggs  who  went  to 


88  WITHIN    THE    LAW 

Garson  yesterday  morning  with  a  scheme  to  rob  your 
house.  Garscn  fell  for  it  and  Griggs  got  word  to  me 
at  once  that  it  was  coming  off  tonight — and  that's 
how  I  know. 

GILDER.  But  why  have  your  men  come  down  over 
the  roof? 

BURKE.  It  wasn't  safe  to  bring  them  in  the  front 
way.  It's  a  cinch  this  house  is  being  watched.  Just 
let  me  have  your  latch-key.  (GILDER  hesitates)  Oh 
come  on. 

GILDER.  (as  he  starts  to  take  ring  of  keys  from 
pocket)  What  for? 

BURKE.  I  want  to  come  back  and  make  this  col 
lar  myself. 

GILDER,  (as  he  hands  BURKE  the  key)  Why  not 
stay  now  that  you're  here  ? 

BURKE.  Suppose  some  one  saw  me  coming  in? 
There'd  be  nothing  doing  until  they  saw  me  go  out. 
^  GILDER.  I  see.  (BURKE  takes  the  stage  down 
right.  GILDER  goes  up  center;  door  up  right  opens 
and  Thomas  enters  and  stands  to  the  right  of  the  door 
facing  GILDER.  CASSIDY  enters  after  THOMAS,  fol 
lowed  by  THOMPSON  and  WILLIAMS  whom  CASSIDY 
motions  to  each  side  of  the  door  up  right  and  then 
CASSIDY  comes  to  left  end  of  table  at  right)  Go  to 
bed.  (THOMAS  exits  door  up  right  and  closes  it 
after  him) 

BURKE.  Where  can  these  men  stay  until  they're 
needed? 

GILDER.  There's  an  empty  room  on  the  next  floor 
that  - 

BURKE,  (interrupting  him)  Won't  do.  (crosses 
up  to  door  up  right  opens  it  and  steps  into  next 
room  and  looks  off  left)  What's  that  door  leading 
from  this  room  here  ? 


WITHIN    THE    LAW  80 

GILDER,  (taking  a  step  down  stage  so  that  he  can 
^ee  BURKE)  That  leads  to  the  third  floor  - 

BURKE.  No  I  don't  mean  that  one.  The  one  on 
the  other  side  of  the  room. 

GILDER.  Oh  that  ?  That  opens  into  a  hall  which 
leads  to  a  store-room. 

BURKE,  (as  he  enters  to  lower  end  of  couch)  Take 
u  look  at  that  room,  Cassidy.  (CASSIDY  exits 
through  door  up  right  and  disappears  off  left.  To 
GILDER)  These  men  came  through  number  twenty- 
s-ix  on  the  other  street,  then  round  the  block  on  the 
roof. 

GILDER.  I  see.  To  avoid  suspicion.  (GILDER 
crosses  up  stage  just  above  upper  end  of  couch) 

BURKE.  Sure.  You  can't  be  too  careful  in  a 
case  like  this.  (  CASSIDY  enters  at  door  up  right  and 
comes  down  left  end  of  table  at  right.  As  CASSIDY 
enters)  Well,  Cassidy? 

CASSIDY.  It'll  do.  Now  if  the  light  is  out  in  that 
room,  we  can  leave  the  door  of  the  room  where  we 
are,  open.  Will  that  be  all  right,  Inspector  ? 

BURKE.  How  about  it,  Mr.  Gilder?  Anyone 
likely  to  be  using  that  room? 

GILDER.     No  one. 

BURKE.  That'll  do  then,  (up  to  GILDER)  Now, 
I'm  going  to  give  you  the  same  tip  I  gave  your  man. 
Go  to  bed  and  stay  there. 

GILDER.  Fm  doing  this  because  there  seems  to  be 
no  other  way ;  but  I  don't  like  it. 

BURKE.  Believe  me,  it's  the  easiest  and  quickest 
for  us  all.  (coming  down  center)  Cassidy! 

CASSIDY.  (stepping  forward  to  meet  BURKE)  Yes, 
sir? 

BURKE.  You're  in  charge  here  and  I  hold  you 
responsible. 

CASSIDY.     Yes,  chief. 


90  WITHIN    THE    LAW 

BURKE.  Now  listen  to  this  and  get  it !  I'm  com 
ing  back  to  get  this  bunch  myself  and  Fll  call  you 
when  I  want  you.  You'll  wait  in  that  store  room  out 
there  and  not  make  a  move  until  you  hear  from  me, 
unless  by  any  chance  things  go  wrong  and  you  get  a 
call  from  Griggs — you  know  who  he  is  ? 

CASSIDY.     Yes,  sir. 

BURKE.  He's  got  a  whistle  and  he'll  use  it  if 
necessary.  Got  that  straight  ? 

CASSIDY.     Yes,  sir. 

BURKE.  On  your  way  then.  (CASSIDY  starts 
toward  door  up  right)  Just  a  minute.  (CASSIDY 
stops  and  comes  down  to  BURKE)  The  minute  you 
get  in  the  room,  jump  for  that  window,  (indicating 
window  right)  Understand? 

CASSIDY.     Yes,  sir. 

BURKE.  That's  all.  (CASSIDY  goes  up  toward 
door  rigid,  motions  THOMPSON  and  WILLIAMS  off 
and  follows  them,  dosing  door  after  him.  As  BURKE 
crosses  up  above  couch  to  table,  gets  his  hat  and 
turns  to  GILDER)  Now  then,  Mr.  Gilder,  I'll  have  to 
ask  a  little  help  from  you  to  delay  things  a  little  to 
give  that  Turner  girl  time  to  get  here.  Keep  your 
lights  burning  until  about  half  past  eleven.  They 
won't  try  anything  as  long  as  a  light  can  be  seen. 
Then  go  to  bed  and  stay  there.  (GILDER  sighs) 
Don't  worry  about  the  boy.  We'll  get  him  out  all  right. 

GILDER.     I  hope  so. 

BURKE.  Nothing  to  it.  Good  night.  ( BURKE 
axit$  left  door  closing  it  after  him.  GILDER  pauses  a 
moment,  looks  around  then  crosses  to  portieres  and 
parts  them  and  looks  out) 

(EING  CUETAIN  DOWN) 

(As  the  curtain  touches  the  stage  all  lights  out  except 
the  moonlight.  Chimes  as  a  distant  town-clock 
starts  striking  twelve  o'clock) 


ACT  III 

SCENE  II 

TIME. — Same  night — Twelve  o'clock. 
SCENE — The  same. 

LIGHTS. — Everything  out  but  the  moonlight.  In 
this  scene  every  time  the  chandeliers  go  up  and 
down  the  amber  foots  work  with  them. 

AT  EISE: — On  the  eleventh  stroke  of  the  chime  the 
curtain  rises  on  a  dark  stage.  On  the  twelfth 
stroke,  the  portieres  part  and  GARSON  steps  into 
the  room  and  closes  them.  All  his  move 
ments  are  made  without  a  sound  but  are  not 
stealthy.  On  the  contrary  he  works  in  an  ex 
tremely  business-like  manner.  He  takes  care 
however,  to  walk  on  the  balls  of  his  feet  with  a 
peculiar  catlike  tread.  He  then  lights  a  pocket 
flash  and  flashes  it  around  the  room.  He  crosses 
to  door  at  up  right  center  and  listens,  then 
crosses  to  door  left  and  quietly  opens  it  and 
listens,  then  quietly  closes  it  and  flashes  his 
lamp  on  the  switch  on  the  wall  just  below  the 
door  left.  Then  he  crosses  to  the  table  down 
right,  flashes  his  lamp  up  through  the  shade, 
then  lights  the  table  lamp.  As  soon  as  the  table 
lamp  is  lit,  he  puts  out  his  flash  lamp,  puts  it  in 
his  pocket  and  looks  around  the  room.  He  then 
crosses  up,  takes  the  chair  from  in  front  of  fire 
place  and  places  it  against  the  up  right  center 
91 


92  WITHIN    THE    LAW 

door  in  such  a  way  that  anyone  entering  would 
stumble  over  it.  Then,  coming  down  to  the  back 
of  the  table  at  right  center  he  takes  up  the  'phone 
in  both  hands  and  calls  999  Bryant.  As  he  is 
waiting  he  again  looks  around  the  room  as  if 
watching  the  door,  and  then,  setting  down  the 
'phone  tvith  the  receiver  at  his  ear  picks  up  a 
penholder  and  turns  to  the  'phone  as  if  lie  had 
an  answer  from  his  number.  Then  he  taps  out  a 
message  in  Morse  code  on  the  mouthpiece  with 
the  penholder.  A  reply  is  lieard  in  the  Morse 
code  and  then  Ite  Jiangs  up  receiver.  Looking 
around  he  finds  the  bell-box  of  the  'phone  on  the 
surbase  below  the  bay  window.  He  kneels  down 
facing  front  and  unscrews  one  bell  and  lays  it  on 
the  floor  then  removes  the  oilier  one.  Then 
picking  up  both  bells  he  rises  and  sets  them  on 
the  table  under  the  lamp.  Then  as  he  stands  at 
the  right  end  of  the  table,  lie  takes  out  his  re 
volver  and  "silencer."  He  is  watching  the  doors 
all  the  time.  Then  putting  the  revolver  in  his 
right  side  trouser  pocket  he  takes  out  his  pocket 
flash  from  his  inside  coat  pocket,,  turns  out  the 
table  lamp,  and,  willi  Ids  flash  lamp  slicvdnn 
ahead  of  him,  crosses  to  door  left  and  exits,  I  car 
ing  the  door  open.  The  stage  remains  dark  for  a 
few  moments  then  the  light  from  the.  pocket 
flash  is  seen  on  the  ceiling  and  gradually  come,* 
down  until  it  is  shining  directly  across  the  stage 
on  the  door  up  right  center.  Then  enter  at  door 
left,  DACEY,  who  crosses  to  the  right  upper  cor 
ner  of  the  table  at  right  center.  DACEY  is  fol 
lowed  by  GEIGGS  who  crosses  around  the  upper 
end  of  the  couch  then  down  center  and  stands 
facing  up  stage.  GRIGGS  is  followed  by  CHICAGO 
RED  ivho  crosses  over  to  upper  end  of  bay  win- 


WITHIN    THE    LAW  93 

dow.  Each  of  the  men  passes  in  front  of  the  light 
of  the  flash  lamp  as  they  enter.  GARSON  then 
enters,  putting  out  his  flash  lamp  and  closing  the 
door  quietly.  Then  he  turns  to  switch  on  the 
wall  below  the  door.  All  talking  from  here  until 
MARY  orders  to  turn  up  lights  is  carried  on 
in  monotone) 

GARSON.  All  right  so  far.  Wait  till  I  turn  up 
the  lights,  (presses  switch  for  chandelier  lights.  As 
chandelier  lights,  DACEY  and  CHICAGO  BED  turn  to 
portieres.  GRIGGS  starts  up  toward  portieres  and 
GARSON,  as  he  speaks,  crosses  down  below  couch  and 
over  to  portieres  and  is  just  at  up  right  center  as  the 
telephone  buzzes)  Is  that  what  we  want? 

GRIGGS.    Yes. 

G ARSON.  We  got  to  hurry  and — (phone  buzzes. 
GMSSON  jumps  quickly  and  picks  up  the  'phone  and 
removes  the  receiver.  The  'phone  then  stops  buzzing. 
GRIGGS  comes  quickly  down  to  GARSON'S  left  shoulder. 
CHICAGO  RED  turns  and  leans  over  up  right  corner 
of  table  and  DACEY  over  back  of  GARSON'S  chair) 
We  got  to  take  a  chance,  (then  puts  the  receiver  to 
hi*  ear  and  a  telegraph  message  is  heard  coming  over 
the,  'phone  and  after  it  stops  GARSON  speaks)  That's 
Mary's  call. 

GRIGGS,  RED  and  DACEY.  Mary's?  (telegraph 
message  starts  again) 

GARSON.  Yes,  she's  on.  (he  holds  receiver  a  few 
inches  away  from  his  ear  and  as  the  message  comes 
over  the  'phone  he  translates)  Am — at — corner — 
drug — store !  Have — some — one — open — door — for 
—me — immediately,  (during  the  translation  GRIGGS 
draws  away  up  center  watching  GARSON) 

GRIGGS.     She's  coming  over? 


94  WITHIN    THE   LAW 

GARSOX.  I'll  stop  her.  (sets  down  'phone  and 
picks  up  penholder) 

RED.     Eight!  stop  her. 

GABSOX.  (GAESOX  laps  out  a  message  on  the 
mouthpiece — pause  but  gets  no  answer)  She  don't 
answer!  (tries  again,  gets  no  answer  and  then  as 
he  quickly  hangs  up  receiver)  She's  gone. 

GKIGGS.     Probably  on  her  way. 

GAESOX.  (at.  the  'Upper  left  corner  of  the  table) 
What's  she  coming  here  for?  This  is  no  place  for 
her!  If  anything  should  go  wrong  now— 

GRIGGS.  Nothing  can.  (as  he  quickly  crosses  to 
door  left)  I'll  let  her  in. 

GAESOX.  (as  he  advances  to  center  and  sharply  to 
GRIGGS)  Griggs!  ( GRIGGS  stops  at  door  left  and 
turns  to  GAESOX)  Got  a  lamp? 

GEIGGS.     Sure,    (exits  at  door  left  leaving  it  open) 

GAESOX.  (after  a  look  at  GEIGGS  then  coming 
down  left  corner  of  table  at  right)  If  any  thing- 
should  go  wrong  now!  Oh!  Why  did  she  have  to 
come?  (MARY  'enters  hurriedly  at  left  door  and 
crosses  above  conch  and  down  to  GAESOX.  As  MARY 
enters)  What  do  you  want  here?  (GEIGGS  enters, 
removes  his  hat  qulet.lt/,  closes  door,  and  drops  down 
to  table  back  of  couch) 

MARY.  You  lied  to  me.  (amber  light  back  of 
door  up  right,  on) 

GAESOX.     That  can  be  settled  later. 

MARY,  (turning  up  stage)  You're  fools,  all  of 
you.  This  is  burglary.  How  can  I  protect  you  if 
you're  caught?  Come,  we  must  get  away  at  once. 
(turning  to  GAESOX)  Joe,  make  them  go. 

GAESOX.     We're  here  now  and  we  can't  leave. 

MARY.     Joe,  for  my  sake. 

GABSOX.  I  can't  leave  till  we've  got  what  we're 
after. 


WITHIN   THE    LAW  95 

MARY.     But  there  are  reasons — I  can't  have  you 
rob  this  house!     (turning  up  stage)     Boys,  let's  get 
away- — please — please,     (to  GARSON)     Joe,  for  God's 
?    sace. 

G ARSON,     (as  he  crosses  left  in  front  of  MARY  and 
to  the  middle  of  the  front  of  the  couch  and  facing  up 
.   siege)     I'm  going  to  see  this  thing  through. 
MARY.     Joe ! 
GARSON.     It's  settled. 

MARY.     Then — (MARY  starts  to  go   toward  door 
'    left) 

GARSON.      (as  he  takes  a  step  up  stage)     You  can't 

go 

MARY.     Why  ? 

GARSON.     You  might  be  caught. 

MARY.     And  if  I  were — do  you  think  I'd  tell  ? 

GARSON.     Of  course  not.     You'd  go  for  a  lifer  first. 

MARY.     Eather  than — 

GARSON.  Just  the  same  we  can't  take  any  chances. 
Well  all  get  away  in  a  minute  and  you'll  come  with 
us.  Tom,  get  to  that  light  switch.  (DACEY  crosses 
io  switch  left,  and  places  his  left  hand  on  it  as  GAR- 
SON  continues)  If  you  hear  me  snap  my  fingers  turn 
'em  off.  Understand  ? 

MARY.     Joe,  don't  do  this. 

GARSON.  You  can't  stop  it  now,  and  you're  only 
making  it  dangerous  for  us  all.  (to  RED)  Red,  you 
get  to  that  door.  (RED,  who  is  at  right  goes  quickly 
up,  takes  chair  away  from  door  up  right  puts  it  at 
the  right  side  of  the  fireplace  and  returns  to  the  door 
as  GARSON  continues)  If  anyone  comes  in,  get  him 
and  get  him  quick — don't  give  a  chance  to  cry  out. 

RED.  (as  he  holds  up  his  right  hand)  Not  a 
chance  with  dis  to  cover  his  mug.  (RED  turns  then 
with  his  ear  to  the  jamb  of  the  door,  listening) 


36  WITHIN    THE    LAW 

Of  ARSON,  (with  his  face  still  up  stage.  To 
GRIGGS)  Now  let's  get  to  work.  (GRIGGS  quickly 
goes  up,  puts  his  hat  on  the  chair  left  of  the  fire 
place,  returns  and  stands  at  the  up  stage  side  of  the 
table  back  of  the  couch) 

MARY.  Listen  to  me,  Joe:  if  you  do  this,  I'm 
through  with  you — I  quit. 

GARSON.  If  this  goes  through  we'll  all  quit. 
That's  why  Fm  doing  it.  (to  the  others)  Come 
boys,  push  that  table,  (indicating  table  back  of  the 
couch)  Against  the  wall  so  I  can  stand  on  it — 
(GRIGGS  bends  down  as  if  to  pick  up  table,  GARSON 
starts  up  stage  and  over  toward  portieres.  MARY 
tries  to  stop  GARSON  as  he  passes  her,  then  crosses 
around  lower  end  of  couch  as  if  to  hold  table) 

MARY.     No  Joe!     NO!     NO!    NO!  

RED.  (makes  a  hissing  sound  and  everybody  stops 
just  where  he  is.  GARSON  is  up  center,  facing  RED. 
MARY  is  at  the  lower  end  of  the  table  back  of  couch. 
DACEY  is  at  the  light  switch  left.  GRIGGS  is  above 
the  table  back  of  the  couch  in  the  act  of  lifting 
it  and  RED  has  his  ear  at  the  door  up  right.  There 
is  a  short  pause  and  RED  again  gives  the  warning 
hiss)  I  hear  something,  (pause)  It's  comin'  this 
way ! 

GARSON.  (as  he  snaps  his  fingers)  Lights!  (the 
liynts  go  out  and  in  the  pause  of  darkness  before  DICK 
enters  at  up  right  door,  GARSON  first  crosses  back  of 
couch  to  left  side  of  table  just  above  MARY  with  his 
pocket  flash  ready.  GRIGGS  then  crosses  up  center, 
DACEY  follows  GRIGGS  and  stands  at  his  left  and  CHI 
CAGO  RED  steps  well  back  into  the  corner  between  the 
door  up  right  and,  the  bay  window.  DICK  opens  up 
right  door,  stands  for  a  moment  in  the  light  and 
then  steps  into  the  room  drawing  the  door  closed 
after  him.  Just  before  the  door  doses  RED'S  right 


WITHIN   THE   LAW  97 

hand  grabs  DICK'S  wrist  and  forces  DICK'S  hand  over 
his  own  mouth.  The  door  then  closes  and  in  the 
darkness  RED  grabs  DICK'S  other  wrist  and  they 
struggle  down  to  the  lower  end  of  the  front  of  the 
couch;  DICK  is  then  forced  down  on  his  knee.  As 
DICK  goes  to  his  knee  RED  speaks) 

RED.  I've  got  him.  (GARSON  flashes  pocket  flash 
on  DICK'S  face.  As  DICK'S  face  is  seen  MARY  speaks) 

MARY.     It's  Dick. 

GARSON.  (as  he  takes  flash  off  DICK'S  face  and  re- 
turns  it  to  his  pocket  and  crosses  up  around  the  upper 
end  of  the  couch  and  to  the  front  of  it)  Get  away 
Red.  (RED  lets  go  of  DICK  and  goes  up  stage  quickly 
between  GRIGGS  and  DACEY.  As  soon  as  DICK  is  re 
leased  he  rises  and  kneeling  on  couch  leans  over  and 
lights  the  lamp  on  the  table  back  of  the  couch.  As 
he  lights  the  lamp  both  baby  spots  come  on,  trained, 
on  DICK'S  and  MARY'S  face.  DICK  is  kneeling  on 
the  couch  and  MARY  is  back  of  it  and  then  they  are 
face  to  face.  MARY'S  hand  is  on  the  back  of  the 
couch) 

DICK,  (as  he  places  his  hand  over  MARY'S)  Good 
God!  You. 

MARY,  (warningly)  Hush !  You  don't  under 
stand. 

DICK.  I  understand  this — whether  you  ever  did 
before  or  not,  this  time  you  have  broken  the  law. 
You're  in  my  hands  now,  and  these  men  as  well, — • 
and  unless  you  do  as  I  say,  I'll  jail  every  one  of  them. 

MARY.     You  can't.     I'm  the  only  one  you've  seen. 

DICK.    That's  soon  remedied,  (starts  to  turn  away) 

MARY,  (as  she  grabs  DICK'S  left  arm  with  her 
left  hand)  Don't  turn,  Dick.  It  isn't  safe. 

DICK.     I'm  not  afraid. 

RED.    Who  is  this  ? 

DICK.     Her  husband.     Who  are  you  ? 


98  WITHIN    THE    LAW 

MARY.  Don't  speak,  any  of  you.  Don't  let  him 
hear  your  voices. 

DICK,  (to  MARY)  You're  fighting  me  like  a 
coward.  You're  taking  advantage  of  my  love — you 
think  because  of  it  I  can't  make  a  move  against  the.--c« 
men.  Now  you  listen  to  me. 

MARY.  I  won't.  There's  nothing  to  listen  about. 
There  never  can  be  anything  between  you  and  me. 
(turns  away  to  the  left  and  attempts  to  go  up  stage) 

DICK,  (as  he  draws  MARY  back  to  him)  There 
can  be  and  there  will  be.  (to  the  men  and  half  turn 
ing  to  them)  You  men  back  there,  if  I  give  you  my 
word  to  let  everyone  of  you  go  free  and  pledge  myself 
never  to  recognize  one  of  you  again,  will  you  make 
Mary  listen  to  me?  Give  me  a  few  moments  to  state 
my  case  and  whether  I  wrin  or  lose  you  men  go  free 
and  I  forget  everything  that  has  happened  here  to 
night.  (BED  laughs  derisively.  To  MARY)  Tell 
them  I  can  be  trusted. 

GARSON.     I  know  that. 

DICK,  (to  MARY)  You  must  listen  !  Your  very 
safety  depends  on  me.  Suppose  I  call  for  help. 

GARSON.  (as  he  comes  quickly  down  to  DICK'S 
side,  GRIGGS  comes  quickly  down  to  center  and  DACEY 
and  EED  each  step  forward)  You'd  only  call  once. 

DICK,  (as  he  turns  and  looks  at  GABSON)  Per 
haps  once  would  be  enough. 

G ARSON,  (short  pause}  You  win.  (GAESON 
turns  and  faces  up  stage  then  to  EED)  Bed,  you  go 
into  that  hall,  (indicating  door  left.  EED  crosses 
quickly  to  the  door,  GRIGGS  goes  up  stage,  and  DACEY 
returns  to  his  former  position.  EED  pauses  at  the. 
door  left  as  GARSON  continues)  Don't  take  any 
chances  with  a  whistle — come  in  and  tell  us  if  you 
hear  anything.  If  we're  rushed  and  have  to  make  a 
quick  getaway,  see  that  Mary  has  the  first  chance. 


WITHIN   THE   LAW  99 

RED.  Right.  (RED  exits  at  left  door  dosing  it 
after  him) 

GARSON.  (to  DICK)  Make  it  quick,  remember. 
(then  GARSON  goes  up  stage  to  the  others) 

DICK,  (turning  to  MARY  and  putting  his  left  arm 
around  her  waist)  Don't  you  care  for  me  at  all? 

MARY.     No,  no. 

DICK.  I  know  you  do,  a  little  anyway — if  you'll 
only  give  me  half  a  chance.  Oh,  Mary,  can't  you  see 
you're  throwing  away  everything  that  makes  life 
worth  while?  (pause)  Why  don't  you  answer  me? 

MARY.     That  wasn't  in  our  bargain. 

DICK.  Mary,  Mary,  you've  got  to  change — don't 
be  so  hard — give  the  woman  in  you  a  chance. 

MARY.  (sharply — to  hide  her  feelings)  I  am 
what  I  am  and  I  can't  change — keep  your  promise 
now  and  let's  get  out  of  this.  (MARY  tries  to  get  away 
and  turns  up  stage  to  her  right) 

DICK.  (DiCK  draws  her  back  and  around  the  cor 
ner  of  the  couch)  You  can  change.  After  all,  you've 
married  me,  and  it's  up  to  you  to  give  me  a  chance 
to  make  good.  I  need  you  and  you  need  me — come 
away  with  me. 

MARY,  (as  she  turns  to  DICK  and  puts  her  hands 
on  his  shoulders)  No.  No.  I  married  you,  not 
because  I  loved  you,  but  to  repay  your  father.  I 
wouldn't  even  let  myself  think  of  you — then  suddenly 
I  realized  I  had  spoiled  your  life. 

DICK.     Spoiled  it? 

MARY.  Absolutely.  If  I  understood  I  really 
cared  I  wouldn't  have  married  you  for  anything  in 
the  world. 

DICK.    But  now,  dear? 

MARY.  Can't  you  see,  I'm  a  jail-bird  ?  Nothing 
can  alter  that. 


100  WITHIN   THE   LAW 

DICK,  (putting  both  his  arms  around  MARY  and 
drawing  her  close  to  him)  But  you  do  love  me  and 
nothing  else  matters.  Don't  you  know  you  can't  beat 
the  law  ?  Suppose  you  were  caught  here  tonight  with 
a  gang  of  burglars,  where  would  you  get  off?  Why 
didn't  you  protect  yourself?  Why  didn't  you  go  to 
Chicago  as  you  had  planned? 

MARY,  (quietly  as  if  she  didn't  understand) 
What? 

DICK.  Why  didn't  you  go  to  Chicago  as  you  had. 
planned  ?  (  GRIGGS  starts  quietly  to  draw  away  from 
the  others  at  up  center  and  crosses  down  to  left  end 
of  table  at  right  center,  listening  intently) 

MARY,  (a  little  more  interested  and  disengaging 
herself)  Arranged  with  whom? 

DICK.     With  Burke. 

MARY,     (suspiciously)     Burke? 

DICK.     Yes. 

MARY.     Who  told  you  I  had  arranged  it? 

DICK.     Burke  did. 

MARY,     (now  thoroughly  alert)     When? 

DICK.     Less  than  an  hour  ago. 

MARY.     Where? 

DICK.     In  this  room. 

MARY.     Burke  was  here? 

DICK.     Yes. 

MARY.     What  was  he  doing  ? 

DICK.  Talking  to  my  father.  (  GRIGGS  turns  and 
rushes  up  to  bay  window,  parts  the  portieres  and  look-s 
out) 

MARY,  (to  G ARSON  as  she  crosses  below  the  couch 
!o  center  facing  up  stage)  Joe!  Turn  up  those 
lights.  (GARSON  crosses  to  switch  on  the  wall  left) 
I  want  to  see  the  face  of  every  man  in  this  room. 
(chandelier  lights  up  and  GARSON  quietly  comes 
down  back  to  the  couch  and  to  the  front  lower  end 


WITHIN   THE   LAW  101 

of  it.  GRIGGS  on  the  chandelier  lighting  jumps  away 
from  the  portieres  and  backs  up  into  the  corner  be 
tween  the  door  up  right  and  the  bay  window,  breath 
ing  heavily  and  scared,  with  his  eyes  on  MARY. 
MARY  keeps  her  eyes  on  GRIGGS  as  she  speaks.  DICK 
gets  off  couch  and  crosses  to  the  upper  front  corner 
of  it,  watching  MARY)  Dick,  how  much  are  those 
tapestries  worth  ? 

DICK.    Oh,  two  or  three  hundred  dollars.    Why? 

MARY.  Fever  mind  that.  How  long  have  you  had 
them? 

DICK.     Ever  since  I  can  remember. 

MARY.  Then  they're  not  the  famous  masterpieces 
your  father  bought  recently? 

DICK.     I  should  say  not. 

MARY.  It's  a  trick,  (turning  to  G  ARSON,  and  as 
M.\RY  takes  her  eyes  off  GRIGGS  to  turn  to  GARSON, 
GUIGGS  jumps  for  the  up  right  door)  Burke's  done 
it.  (the  noise  of  the  lock  turns  MARY'S  attention 
back  to  GRIGGS)  Griggs! 

GRIGGS.  (turning  and  facing  MARY  and  coming 
a  little  to  center  and  with  fear  in  his  voice)  He's 
lying  to  you.  They're  worth  half  a  million. 

MARY.     You  stool-pigeon,  you  did  this  for  Burke. 

GRIGGS.     I  swear  I  didn't. 

MARY.  You  came  to  me  yesterday  with  this  plan 
trom  him. 

GRIGGS.     I  swear  I  was  on  the  level. 

GARSON.  (at  the  front  lower  end  of  couch)  It's 
a  frame-up. 

GRIGGS.     (defiantly)     Well,  what  of  it? 

GARSON.  (as  he  draws  his  revolver)  I'll  get  you 
for  this — (GRIGGS  puts  police  whistle  to  his  mouth) 
Drop  that  whistle.  (GARSON  rushes  up  center  as  he 
fires  at  GRIGGS.  No  sound  is  heard.  As  GRIGGS 
drops  straight  down  stage  so  that  his  head  is  at  the 


103  WITHIN   THE   LAW 

end  of  the  table  and  Ms  feet  up  stage,  MARY  gives  a 
little  scream,  and  with  her  eyes  on  GRIGGS,  backs 
quickly  to  the  couch.  DICK  steps  down,  puts  his  left 
hand  under  GARSON'S  wrist  and  then  his  right  over 
GARSON'S  wrist  and  turns  GARSON'S  arm  over.  This 
forces  GARSON  around  in  front  of  and  to  DICK'S  right 
side,  and  facing  front  with  his  arm  turned  over  so 
that  it  forces  him  to  drop  the  revolver) 

GARSON.  (as  he  drops  the  revolver)  Give  me 
that  gun. 

EED.  (as  he  enters  door  left  hurriedly  and  stands 
at  it  and  closes  it  after  him)  Somebody's  opening 
the  front  door!  (there  is  a  pause,  then  GARSON  and 
DICK  break.  GARSON  quickly  steps  over  GRIGGS' 
'body,  crosses  to  bay  window,  throws  the  down  stage 
portiere  back  and  looks  out.  As  GARSON  starts  for  the 
bay  window,  DACEY,  who  is  up  left  center,  and  RED, 
who  is  at  the  door  left,  quickly  follow  GARSON  across 
right  to  bay-window  and  stand  above  him;  and  as  he 
turns  back  into  the  room,  DACEY,  who  is  front,  throws 
the  up  stage  portiere  back  and  they  both  hurriedly 
exit  through  bay-window.  As  GARSON  leaves  DICK, 
he  bends  down  and  picks  up  the  revolver  and  puts 
it  in  his  pocket  then  quickly  runs  to  door  left,  and 
looks  out,  then  closes  it  and  stands  listening  at  the 
door  jamb) 

GARSON.  (at  the  bay-window)  The  street's 
empty.  We've  got  to  jump  for  it.  (turns  and  crosses 
quickly  back  toward  MARY  passing  between  the  chair 
and  the  table  at  right  as  far  as  the  body  of  GRIGGS; 
then,  as  he  leans  over  the  body  of  GRIGGS  with  his 
hand  out  to  MARY)  Come  on,  Mary. 

DICK,      (at  door  left)      She  can't  make  it. 

GARSON.     But  if  she's  caught  ? 

DICK.     She  won't  be. 


WITHIN   THE   LAW  103 

GARSON.  If  she  is,  I'll  get  you,  so  look  out. 
(DiCK  is  urging  in  dumb  motion  from  the  door  left 
to  get  out  as  he  is  watching  through  the  crack  of  the 
door.  GARSON  looks  down  into  GRIGGS'  face.  To 
GRIGGS)  You  stool-pigeon,  now  tell  that  to  Burke. 
(GARSON  turns  and  quickly  exits  through  bay-win 
dow.  MARY,  who  has  been  perfectly  still,  her  eyes 
riveted  on  GRIGGS,  now  starts  slowly  to  move  the 
body) 

(The  spot  from  the  Metropolitan  tower  light  is  lit 
with  the  blinder  on) 

DICK,  (moving  quickly  toward  MARY  with  his 
eyes  on  the  door  left  and  speaking  as  he  comes) 
Mary!  (then  as  he  grabs  MARY  by  both  shoulders) 
Mary!!  (MARY  gives  a  start) 

MARY,  (in  a  semi-hysterical  way)  I  never  saw 
a  man  killed  before.  (DiCK  now  half  carries  MARY 
and  half  pushes  her  down  toward  lower  end  of  couch 
where  he  throws  her  at  the  end  of  her  line  and  she 
falls  with  her  face  buried  in  the  down-stage  arm) 
He  was  standing  there  a  moment  ago  and  now —  (as 
MARY  falls  on  the  couch  DICK  hurries  up  around  the 
upper  end  of  couch  to  the  switch  below  the  door  left 
and  presses  it.  The  chandelier  goes  out  and  as  DICK 
watches  the  door  left  he  quickly  comes  to  the  back  of 
the  couch  above  the  table  and  takes  a  cigarette  and 
match  from  the  table,  then  sits  on  the  back  of  the 
couch,  leans  over  gently  shaking  MARY  by  the  shoul 
der  speaks  in  a  whisper) 

DICK.  Talk  to  me!  Talk  to  me!  And  above 
everything  keep  your  head,  (turns  to  the  door  and 
in  his  natural  voice)  It  was  bully  of  you  to  come 
and  see  me.  (in  a  whisper  to  MARY)  Talk  to  me! 
Talk  to  me !  Pretend  you've  come  to  see  me.  (nat 
urally)  I've  been  trying  to  see  you  all  day.  (pre- 


104  WITHIN   THE   LAW 

pares  to  light  cigarette)  I  know  that  iny  father  will 
eventually — (strikes  match  and  about  to  light  cigar 
ette) 

BURKE,  (as  he  quickly  opens  door  with  revolver  in 
his  right  hand  aimed  into  the  room  and  quickly  steps 
half  way  into  the  room)  Hands  up!  All  of  you! 
(MARY  comes  up  quickly  to  a  sitting  position  facing 
down  stage) 

DICK,  (with  lighted  match  in  his  hand  showing 
his  nervousness)  Why,  what  are  you  doing  in  this 
house  at  this  time  of  night?  Don't  you  know  there 
are  limits  even  to  what  you  can  do  ? 

BURKE,  (sharply  and  indicating  MARY  with  the 
revolver)  What's  she  doing  here? 

DICK.  You  forget  yourself,  Inspector:  this  is  my 
wife. 

MARY,  (in  a  semi-hysterical  way)  Why  shouldn't 
I  be  here? 

BURKE.      (sharply)      Where's  your  father? 

DICK.  In  bed,  I  suppose,  (shakes  out  watch) 
Again  I  ask  you  what  you  are  doing  here  at  this 
time  of  night? 

BURKE,  (as  he  puts  revolver  in  his  pocket — im 
patiently)  Oh  call  your  father.  (MARY  starts  to 
turn  toward  the  body,  and  slides  up  to  the  middle  of 
the  couch) 

DICK.  It's  too  late  and  I'd  rather  not  disturb  him. 
Oh  I  see  Inspector,  I'll  have  to  tell  you  the  truth. 
My  wife  has  decided  to  give  up.  (DiCK  puts  his  right 
hand  back  and  puts  it  on  MARY'S  right  shoulder  and 
draws  her  back  so  that  her  face  is  directly  under  the 
lamp.  He  then  lets  go  of  her  a#  he  continues,  and 
MARY  starts  again  moving  toward  the  body  and  slid 
ing  up  stage  on  the  couch)  We're  going  away  to 
gether,  but  you  see  we  had  to  talk  tilings  over.  Now 
if  you  could  come  back  in  the  morning? 


WITHIN   THE   LAW  105 

BURKE.     Oh,  so  that's  it? 

DICK.     Why  yes,  what  did  you  think? 

BURKE.  I  didn't  know.  You  see  I  had  some  bus 
iness  here  and — (Metropolitan  tower  light  flashes 
around  and  lights  up  the  room  disclosing  the  body 
of  GRIGGS.  MARY  screams  and  half  rises.  DICK 
quickly  gets  off  the  back  of  the  couch  and  paces 
around  the  upper  end  of  it  and  takes  MARY  in  his 
.arms  and  seats  her  again  on  the  couch.,  as  the  white 
light  discloses  the  body  of  GRIGGS)  What's  that? 
(presses  switch  on  the  wall  which  lights  the  chan 
delier  and  calls)  Cassidy !  (as  he  runs  across  the 
stage  towards  door  up  right.  At  center)  Cassidy ! ! 
(as  he  throws  open  door  up  right)  Cassidy ! ! !  (quick 
ly  turns  as  he  is  crossing  the  body)  Eight  where  you 
are,  both  of  you.  (kneels  at  the  left  of  the  body  and 
feels  the  breast) 

CASSIDY.  (as  he  rushes  in  door  up  right  and  down 
to  the  left  of  the  body  followed  by  WILLIAMS  and 
THOMPSON  who  stand  one  each  side  of  the  door  up 
right)  What  is  it  chief  ? 

BURKE.     They've  got  Griggs. 

CASSIDY.     Got  Griggs? 

BURKE.  Yes,  I'll  break  you  for  this.  Why  did'nt 
you  come  in  when  you  heard  the  shot  ? 

CASSIDY.  There  wasn't  any  shot.  We  didn't  hear 
a  sound. 

BURKE,  (as  he  rises  and  faces  DICK  and  MARY) 
Why  you  could  drive  a  hearse  through  the  hole  they've 
made  in  him.  (to  DICK  and  MARY.  Quietly)  So 
now  it's  murder?  Where's  the  gun?  Hand  it  over. 
(pause)  Search  him. 

CASSIDY.  (as  he  just  crosses  body  toward  DICK) 
Yes,  Sir.  (MR.  GILDER  enters  up  right  door  and 
comes  down  to  table  at  the  right  of  the  body) 


106  WITHIN   THE   LAW 

DICK,  (as  he  takes  revolver  prom  his  pocket  and 
offers  it  to  BURKE)  Here  it  is. 

GILDER.    What's  this  ? 

BUEKE.  (to  GILDER)  You  wait,  (as  he  crosses 
down  right  in  front  of  table  examining  revolver)  So 
you  did  it  eh  ?  Cassidy,  you  and  Thompson  take  'em 
both  down  town.  (CASSIDY  motions  with  his  hand 
and  THOMPSON  crosses  from  left  of  door  up  right  to 
upper  corner  of  the  couch) 

DICK.  Not  her,  you  don't  want  her.  It's  all 
wrong. 

MARY,  (as  she  takes  DICK'S  hand  in  both  hers  and 
lays  her  cheek  against  it  and  facing  front)  Don't 
talk,  Dick— don't  talk. 

BURKE,  (turns  facing  DICK)  What  did  you  ex 
pect?  Either  you  killed  Griggs  or  she  did.  Did  she 
kill  him? 

DICK.     Good  God,  no! 

BURKE.     Then  it's  you. 

MARY.     It  isn't.     It  isn't. 

BURKE.  Now  one  of  you  killed  Griggs.  Did  she 
do  it? 

DICK.     I  told  you  no. 

BURKE.  Did  he  kill  him  ?  (stepping  to  center  and 
indicating  MARY  with  the  revolver  which  is  in  his 
right  hand)  You,  I'm  talking  to  you.  Did  he  kill 
him? 

MARY,     (showing  that  she  has  an  idea)     Yes. 

DICK,     (as  he  draws  back  from  MARY)     Mary! 

GILDER.     So  that's  your  revenge? 

MARY.     I  don't  want  revenge. 

GILDER.     But  they'll  try  my  boy  for  murder. 

MARY.     They  can't.     They  can't. 

BURKE.     What's  the  reason  we  can't? 

MARY,  (turning  to  BURKE)  Because  you  can't 
convict  him. 


WITHIN   THE   LAW  107 

BURKE.  Can't,  eh?  (indicating  body  with  re 
volver)  There's  the  body,  (showing  the  revolver) 
The  gun  was  found  on  him.  And  you'll  swear  he 
killed  him? 

MARY,  (as  she  rises)  Quite  true,  (stepping  for 
ward  to  BURKE)  But  that  man  was  a  burglar,  and 
he  shot  him  in  defence  of  his  home.  (MARY  starts 
to  sink.  DICK  steps  down  to  her  quickly  and  they 
are  in  each  other's  arms  as  the  curtain  falk) 

CUETAIN 


ACT  IV 

TIME: — The  next  morning. 

SCENE: — Office  of  INSPECTOR  BURKE.  The  interior 
part  of  the  set  runs  back  to  two.  There  is  a 
door  left  which  leads  to  the  hall  leading  to  the 
stand.  At  right  a  door  leading  into  the  interior 
of  the  building.  At  right  center  is  a  fiat  top 
desk  set  so  that  INSPECTOR  BURKE  who  sits  at 
it,  faces  the  audience  and  there  is  just  passage 
way  between  his  chair  and  the  windows  back  of 
it.  At  each  side  of  the  desk  is  an  office  chair 
each  placed  so  that  there  is  walking  space  between 
them  and  the  desk.  There  is  an  office  chair 
down  left,  below  door  left.  At  the  back  of  the 
office  are  four  large  windows  with  practical 
shades.  Through  the  windows  can  be  seen  four 
cells.  There  is  a  passage-way  between  the  cells 
and  the  windows.  At  the  opening  of  the  act  the 
shades  are  up  and  the  doors  of  the  cells  are  open 
except  the  one  at  the  extreme  left  which  is  closed. 

LIGHTS: — The  office  is  well  lighted  with  white  foots 
and  white  first  border.  There  is  no  light  behind 
the  windows. 

AT  RISE  : — BURKE  is  in  dress  uniform,  standing  back 
of  his  desk.  WILLIAMS  is  standing  above  door 
right  which  is  open.  CHICAGO  RED  is  at  lower 
right  corner  of  desk  and  facing  BURKE.  DACEY 
is  at  left  side  of  desk  facing  BURKE.  Door  is 
closed. 

100 


110  WITHIN  THE  LAW 

BURKE.     Come  across  now  Red. 

RED.  I  don't  know  nothin'.  Ain't  I  been  tellin* 
you  that  for  over  an  hour  ?  (as  BURKE  turns  and  looks 
to  DACEY,  RED  takes  stage  right) 

BURKE,  (taking  hold  of  DACEY'S  coat  lapels, 
pushes  him  around  to  the  front  of  the  desk,  and,  as 
he  comes  to  a  standstill  at  the  lower  left  corner  of 
the  desk  gives  DACEY  a  final  push  and  lets  go  of  him) 
Dacey,  how  long  you  been  out  ? 

DACEY.     (facing  BURKE)     'Bout  a  week. 

BURKE.     Want  to  go  back  for  another  stretch  ? 

DACEY.     God,  no. 

BURKE.     Who  shot  Griggs? 

DACEY.  (as  lie  advances  to  BURKE)  I  don't  know, 
honest  I  don't.  ( BURKE  suddenly  hits  DACEY  along 
side  the  jaw  and  DACEY  goes  to  the  floor.  DACEY 
scrambles  to  his  feet  and  backs  away  from  BURKE  as 
far  as  the  door  right) 

BURKE,  (as  DACEY  goes  down)  Now  get  up  and 
talk. 

CASSIDY.  (entering  door  left  and  closing  it  after 
him  and  standing  at  the  door)  The  District  Attor 
ney's  here. 

BURKE,  (with  his  eyes  on  DACEY)  Oh,  he  is  eh? 
Well,  send  him  in.  ( CASSIDY  exits  door  left,  closing 
it  after  him) 

BURKE,     (as  he  goes  up  to  his  chair  back  of  desk) 

1 11  attend  to  you  two  later.    Williams,  take  'em  back. 
(RED  and  DACEY  exit  right,  WILLIAMS  about  to  fol 
low)     And,  Williams ! 

WILLIAMS,  (stopping  and  turning  to  BURKE) 
Yes,  sir. 

BURKE.  Don't  be  rough  with  them.  (WILLIAMS 
exits  and  BURKE  sits)  Dan!  (DAN  enters  right) 
Just  pull  down  those  shades  will  you  please?  (DAN 
crosses  first  to  the  far  shades  and  pulls  them  all  down 


WITHIN   THE   LAW  111 

and  exits  right.    DEMAREST  enters  left)     Thanks  for 
coming  so  soon. 

DEMAREST.  (as  he  crosses  brings  chair  left  of  desk 
close  to  the  desk  and  sits  facing  BURKE)  I  came  as 
soon  as  I  got  your  message.  I've  sent  for  Mr.  Gil 
der — 

BURKE.     Yes,  he  'phoned  me  he  was  on  his  way. 

DEMAREST  (taking  cigar  from  his  pocket  and 
lighting  it)  Now  then  Burke,  let  me  have  it 
quickly. 

BURKE.  Well,  Joe  Garson,  Chicago  Red,  Tom 
Dacey  and  Eddie  Griggs  broke  into  Edward  Gilder's 
hou.^e  last  night.  I  knew  it  was  coming  off  and 
plar-ted  Cassidy  and  a  couple  of  men  just  outside  the 
room,  and  went  away,  coming  back  in  about  an  hour 
to  make  the  arrests  myself.  When  I  broke  into  the 
room  I  found  young  Gilder  and  the  Turner  woman 
talking  together. 

DEMAREST.     No  trace  of  the  others  ? 

BURKE.  1  found  Griggs  lying  dead  on  the  floor. 
The  Turner  girl  says  young  Gilder  shot  Griggs  be 
cause  he  broke  into  the  house. 

DKMABEST.     What  does  the  boy  say? 

BURKE.  Nothin' —  (pause}  She  told  him  not  to 
talk. 

DEMAREST.    What  does  she  say? 

BURKE.     Refuses  to  talk  until  she  sees  a  lawyer. 

DEMAREST.     Anything  else  ? 

BURKE.  We've  got  Chicago  Red  and  Dacey.  And 
we'll  have  Garson  before  the  day  is  over.  Oh  yes, 
they've  just  picked  up  a  young  girl  at  the  Turner 
woman's  flat.  I  don't  know  who  she  is  but  I'm  going 
to  talk  to  her  in  a  minute. 

DEMAREST.     What  else  have  you  got? 

BURKE.  Well  for  once  luck's  with  the  police. 
WVve  got  a  real  clue.  Never  saw  a  gun  like  that 

& 


112  WITHIN   THE   LAW 

before,  did  yon?  (takes  revolver  with  silencer  out 
from  under  newspaper  at  right  end  of  desk  and  hands 
it  to  DEMAREST) 

DEMABEST.  (as  he  takes  revolver  and  examines  it) 
No,  not  exactly  like  that. 

BURKE.  I'll  bet  you  didn't,  That  thing  on  the 
end  is  a  Maxim  Silencer  There  are  thousands  of 
them  in  use  on  rifles  but — 

DEMAREST.  (as  he  hands  revolver  to  BURKE) 
But  what? 

BURKE.  But  they've  never  been  able  to  use  one 
on  a  revolver  before.  That's  a  specially  made  gun, 
that's  absolutely  noiseless,  (puts  revolver  in  his 
pocket)  It'll  be  the  easiest  thing  in  the  world  to 
trace  it.  (CASSIDY  enters  at  door  left,  closes  it  after 
him  and  comes  a  few  steps  into  the  room)  Well, 
Cassidy,  did  you  get  anything?  (DEMAREST  turns  in 
his  chair  so  that  he  can  see  CASSIDY) 

CASSIDY.  Yes,  I  had  the  factory  at  Hartford  on 
the  'phone  and  they  gave  me  Mr.  Maxim. 

BURKE.  Good !  Now  we're  getting  to  it.  Well, 
what  did  he  say  ? 

CASSIDY.  He  said  it  was  a  specially  constructed 
gun  made  for  the  use  of  Henry  Sylvester,  one  of  the 
professors  at  Yale.  They've  never  been  put  on  the 
market  and  never  will  be. 

BURKE.     Get  hold  of  this  man  Sylvester. 

CASSIDY.  I  just  had  him  on  the  'phone.  He  says 
his  house  was  robbed  about  eight  weeks  ago  and  the 
silencer  was  stolen  among  other  things.  He  adds 
the  startling  information  that  the  New  Haven  police 
have  not  been  able  to  recover  any  of  his  property— 
(a^  he  crosses  to  door  right)  Gee,  them  rube  cops 
are  immense. 


WITHIN"   THE   LAW  113 

DEMAEEST.  (on  his  first  move,  CASSIDT  stops  at 
door  right.  With  a  laugh)  The  New  York  Police 
always  recovers  stolen  property. 

CASSIDY.  (as  he  exits  hurriedly  at  door  right) 
Good  night. 

DEMAREST.  (to  BURKE)  Is  there  any  chance 
that  young  Gilder  did  shoot  Griggs  ? 

BURKE.  You  can  search  me.  My  men  who  were 
just  outside  the  door  of  that  room  didn't  hear  a 
sound.  Of  course  I  know  that  all  the  gang  were  in 
the  house. 

DEMAREST.  How  do  you  know  ?  Did  you  see  them 
go  in? 

BURKE.     No.    But  Griggs  said— 

DEMAREST.  Griggs  is  dead.  Burke,  you're  up 
against  it,  you  can't  prove  that  Gar  son  or  Chicago 
Red  or  Dacey  ever  entered  that  house. 

BURKE.     But  Griggs  said  they  were  going  to— 

DEMAREST.  I  know,  but  Griggs  is  dead,  (pause 
as  BURKE  turns  away)  You  can't  repeat  what  he 
told  you.  It  isn't  evidence. 

BURKE.  Then  I'll  charge  young  Gilder  with  that 
murder  and  call  the  Turner  woman  as  a  witness. 

DEMAREST.  You  can't  call  her;  you  can't  make 
a  wife  testify  against  her  husband.  And  you  can't 
arrest  her  and  put  him  on  the  witness  stand.  Burke, 
your  only  chance  of  getting  the  murderer  of  Griggs  is 
by  a  confession.  (DEMAREST  rises  but  still  faces 
BURKE) 

BURKE,  (as  he  rises,  facing  DEMAREST)  Then 
I'll  charge  'em  both  with  that  murder  and  by  God 
they'll  both  go  to  trial  unless  someone  comes  through. 
If  it's  my  last  act  on  earth,  I'm  going  to  land  the 
man  who  shot  Eddie  Griggs. 


114  WITHIN   THE   LAW 

DEMAREST.  Burke,  I  don't  believe  for  a  minute 
that  young  Gilder  killed  this  pet  stool  of  yours  and 
understand  I  want  him  to  go  free. 

BURKE.  He'll  go  free  when  he  tells  me  what  he 
knows,  and  not  before,  (pause  as  BURKE  turns  away 
from  DEMAREST  and  prepares  to  sit)  Perhaps  the 
old  gentleman  can  make  him  talk.  I  can't,  (sits) 
On  account  of  his  being  his  father's  son,  when  it 
comes  to  young  Gilder,  I'm  a  little  cramped  in  my 
style. 

DEMAREST.  Then  you  think  that  young  Gilder 
knows — 

BURKE.  I  don't  think  anything— yet.  I  know 
that  Eddie  Griggs,  the  most  valuable  crook  that  ever 
worked  for  me  has  been  murdered.  And  someone — 
man  or  woman,  has  got  to  pay  for  it. 

DEMAREST.     Woman? 

BURKE.     Mary  Turner. 

DEMAREST.  (as  he  takes  stage  left)  But  she's 
not  that  sort !  (turns  to  BURKE.) 

BURKE.  Oh!  She  ain't?  She's  made  a  monkey 
out  of  the  police  department:  and  first,  last  and  all 
the  time,  I'm  a  copper.  Now,  if  you'll  wait  for  Mr. 
Gilder,  in  the  room  outside,  I'll  get  busy  with  the 
girl  they've  just  brought  in.  (  BURKE  presses  buzzer 
button  on  the  right  end  of  his  desk) 

DEMAREST.  Very  well,  (as  he  crosses  to  ^  door 
left)  I'll  wait  for  him.  (exits  door  left,  closing  it 
after  him) 

(  BURKE  turns  around  so  that  he  is  facing  door  right. 
Door  opens  right  and  DAN  enters  and  stands  above 
door.  AGGIE  follows.  She  is  beautifully  dressed 
and  uses  her  best  and  most  lady-like  manner.  She 
is  making  the  bluff  of  her  young  life  and  pre 
tends  to  be  very  indignant.  She  comes  slowly  in- 


WITHIN   THE   LAW 


side  the  door  and  crosses  to  the  lack  of  the  chair 

which  is  right  of  BURKE'S  desk) 

BURKE,  (after  AGGIE  gets  back  of  chair.)  (Very 
bluff)  Now  then  my  girl,  I  want  to  know— 

AGNES,     (blazing  with  wrath)     How  dare  you? 

BURKE.    What? 

AGNES.  What  do  you  mean  by  this  outrage?  I 
demand  my  instant  release. 

BURKE.  Wait  a  minute  —  wait  a  minute.  Sit 
down,  (motions  to  chair  right  of  desk) 

AGNES.  I  shall  do  nothing  of  the  kind.  I  have 
been  arrested,  and  by  a  common  policeman  ! 

BURKE.     Excuse  me  —  a  detective  sergeant. 

AGNES.  You  wait  —  just  wait  till  my  papa  hears 
of  this. 

BURKE,     (puzzled)     Who  is  your  papa  ? 

AGNES.  I  shan't  tell  you.  You'd  probably  give 
my  name  to  the  reporters  and  if  it  ever  got  into  the 
newspapers,  my  family  would  die  of  shame. 

BURKE.  Now  the  easiest  way  out  for  both  of  us 
is  for  you  to  tell  me  just  who  you  are.  You  see  you 
were  found  in  the  house  of  a  notorious  crook. 

AGNES.  How  perfectly  absurd.  I  was  calling  on 
Miss  Mary  Turner! 

BURKE,  (quick  and  sharp)  How'd  you  meet 
her? 

AGNES.  I  was  introduced  by  Mr.  Eichard  Gilder. 
He's  the  son  of  the  owner  of  the  Emporium. 

BURKE.     I  know  all  about  him. 

AGNES.  Then  you  must  see  at  once  that  you  are 
entirely  mistaken  in  this  whole  matter,  (a  pause  as 
AGNES  crosses  to  BURKE  and  leaning  a  little  toward 
him)  Don't  you  see  it? 

BURKE.    Well,  no,  not  exactly. 


116  WITHIN   THE   LAW 

AGNES,  (as  she  turns  sharply  away  and  crosses 
down  between  the  chair  and  the  desk  to  the  -front  of 
the  chair,  looking  -front)  Sir! 

BURKE.  Not  yet !  Not  yet !  The  fact  is,  even  if 
you  were  introduced  by  Mr.  Gilder,  Mary  Turner  is 
an  ex-convict  who  has  just  been  arrested  for  (pause) 
murder. 

AGNES,  (shows  start  of  surprise  on  her  face  then 
with  a  smile  as  she  turns  to  BURKE)  Murder? 

BURKE.  Yes,  and  if  there's  a  mistake  about  you, 
we  don't  want  it  to  go  any  further;  that's  one  of 
the  reasons  I  must  know  who  you  are.  You  see  that 
don't  you? 

AGNES.  Oh  yes.  You  should  have  told  me  that 
in  the  first  place,  (with  an  air)  My  name  is  Helen 
— Travers — West,  (sits  in  chair) 

BURKE,  (in  surprise)  Not  the  daughter  of  the 
railway  president? 

AGNES.  Yes.  (as  she  turns  in  her  chair)  Oh, 
please  don't  tell  anyone.  Surely  you  must  see  now 
why  it  musn't  be  known  that  I  have  been  brought  to 
this  dreadful  place.  Please  let  me  go  home,  (turns 
front  and  starts  to  sob) 

BURKE.  That's  all  right  little  lady.  Don't  you 
be  worried.  Just  tell  me  all  you  know  about  this 
Turner  woman — did  you  see  her  yesterday? 

AGNES,  (as  she  turns  to  BURKE)  Will  you  let 
me  go  home  as  soon  as  I've  told  you  what  little  I 
know  ? 

BURKE.     Yes,  no  one's  goin'  to  hurt  you. 

AGNES,  (turns  front)  Well,  you  see — it  was  this 
way — Mr.  Gilder  was  calling  on  me  one  afternoon, 
and  he  said  he  knew  a  charming  young  woman, 

who — who (apparently  breaks  down  and  takes  out 

handkerchief  and  starts  wiping  her  eyes)  Oh,  this 
is  dreadful. 


WITHIN   THE    LAW 

BURKE,  (soothingly)  That's  all  right,  little  lady 
—that's  all  right — no  one's  goin'  to  hurt  you ! 

AGNES,     (through  her  tears)    Oh  dear!    Oh  dear! 

BURKE.  Isn't  there  something  else  you  can  tell 
me  about  this  woman? 

AGNES.     I'm  so  frightened. 

BURKE.  Now  there's  nothing  for  you  to  be  fright 
ened  about. 

AGNES     I'm  afraid  you'll  put  me  in  a  c-c-cell. 

BURKE.  No  one  could  think  of  a  cell  and  you, 
at  the  same  time. 

AGNES,  (as  she  dries  her  tears  and  turns  and 
gives  BURKE  a  smile)  Oh,  thank  you,  sir. 

BURKE,  (as  he  leans  forward  in  his  chair)  Are 
you  sure  you've  told  me  all  you  know  about  this  wo 
man? 

AGNES,  (turning  to  BURKE)  Oh,  yes,  I've  only 
seen  her  two  or  three  times.  Oh,  please  won't  you 
let  me  go  home — commissioner? 

BURKE,     (shows  he  is  flattered  ~by  swelling  up  and 
leaning  way   lack  in  his  chair — graciously)     If 
let  you  go  now  will  you  promise  to  let  me  know  if 
you  can  think  of  anything  else  about  this  woman  ? 

AGNES,  (as  she  rises  and  pushes  the  chair  close 
to  the  desk)  I  will,  indeed  I  will. 

BURKE.  Now  you  see,  no  one's  hurt  you.  You 
can  run  right  home  to  your  mother. 

AGNES,  (as  she  crosses  quickly  toward  door  left) 
I'll  go  just  as  fast  as  I  can.  (stops  and  turns  to 
BURKE  on  his  first  word) 

BURKE.  Give  my  compliments  to  your  father,  and 
tell  him  I'm  sorry  I  frightened  you. 

AGNES.  I  will,  commissioner,  (starts  toward 
BURKE)  Father  will  be  so  grateful  to  yoii—  (AGNES 
is  just  below  chair  left  of  desk  and  has  just  put  out 


118  WITHIN   THE   LAW 

her  hand  and  BURKE  is  about  to  shake  hands  as 
CASSIDY  enters) 

CASSIDY.  (entering  door  right  and  as  he  steps  in 
and  drops  a  little  below  door  closing  the  door  after 
him)  Hello,  Aggie. 

AGNES.  (AGNES  stops  short,  gives  CASSIDY  a  look 
then  BURKE  a  look  then  as  she  sits  in  chair  with  her 
back  front)  Ain't  that  the  damndest  luck?  (watches 
BURKE  out  of  the  corner  of  her  eye) 

BURKE.  (BURKE  gives  CASSIDY  a  quick  look,  then 
while  watching  AGNES,  slowly  rises  and  crosses  to 
CASSIDY.  To  CASSIDY)  Do  you  know  this  girl  ? 

CASSIDY.  Sure.  She's  little  Aggie  Lynch — con 
woman  from  Buffalo — two  years  for  blackmail. 

BURKE,  (as  he  puts  his  hand  to  his  chair)  Oh ! 
(he  then  crosses  the  stage  to  left  of  AGNES,  watching 
her  all  the  time,  then  with  a  laugh)  I  certainly  got 
to  hand  it  to  you,  kid — you're  a  beaut. 

AGNES,  (to  CASSIDY)  Just  as  I  had  him  goin' 
too. 

BURKE.     Have  we  a  picture  of  this  young  woman  ? 

CASSIDY.  (as  he  crosses  to  lower  right  corner  of 
desk)  Not  in  our  gallery. 

BURKE,  (in  society  manner)  I'd  dearly  love  to 
have  a  photograph  of  you,  Miss  Helen — Travere— 
West. 

CASSIDY.     Helen — Travers — West? 

BURKE.     That's  what  she  pulled ! 

CASSIDY.     No  ? 

BURKE.  Had  me  winging,  too.  (CASSIDY  laughs) 
Oh,  I  admit  it.  (to  AGNES)  You're  immense,  little 
one,  immense,  (in  society  manner  as  he  takes  the 
stage  down  left)  When  may  I  have  the  pleasure  of 
escorting  you  to  our  gallery  ? 


WITHIN    THE   LAW  119 

AGNES,  (rising  and  crossing  to  BUEKE  and  in 
AGGIE'S  natural  way)  Oh  can  that  stuff.  Let's  you 
and  me  get  down  to  cases. 

BURKE.     Now  you're  talkin'. 

AGNES.  You  can't  do  anything  to  me.  Why  I'll 
be  sprung  inside  an  hour.  Why,  habeas  corpus  is  my 
lawyer's  middle  name. 

BURKE.  On  the  level  now,  when  did  you  see  Mary 
Turner  last? 

AGNES,  (with  an  air  of  perfect  truth)  Early 
this  morning.  We  slept  together  last  night  because 
I  had  the  willies — she  blew  the  joint  about  half-past 
eight. 

BURKE.     Now  what's  the  good  of  you  lyin'  to  me? 

AGNES.  What,  me?  Oh,  I  wouldn't  do  a  thing 
like  that.  On  the  level,  what'd  be  the  use,  I  couldn't 
fool  you.  ( BURKE  puts  his  right  hand  to  his  jaw 
as  if  he  had  been  hit  as  he  takes  the  stage  a  little  to 
left.  AGNES  follows  him)  So  help  me  Inspector, 
Mary  never  left  the  house  all  night.  I'd  swear  that's 
the  truth  on  a  pile  of  bibles  a  mile  high. 

BURKE.  Have  to  be  higher  than  that.  She  was 
arrested  just  after  midnight — (sharply)  Young 
woman  you  better  tell  all  you  know. 

AGNES,  (as  she  faces  front)  I  don't  know  a 
thing. 

BURKE,  (as  he  quickly  produces  revolver  from  his 
pocket,  leans  forward  and  holds  it  in  front  of  AGNES 
— sharply)  How  long  has  she  owned  this  gun? 

AGNES,  (glancing  at  revolver)  She  didn't  own 
it. 

BURKE.     Then  it's  Garson's,  eh? 

AGNES.  I  don't  know  whose  it  is.  I  never  laid 
eyes  on  it  till  now. 

BURKE.  English  Eddie  was  killed  with  this  last 
night.  Now,  who  did  it ?  Come  on,  now,  who  did  it? 


120  WITHIN    THE    LAW 

AGNES.  How  should  I  know?  Say,  what  do  you 
think  I  am,  a  mind-reader? 

BURKE,  (straightening  up  and  dropping  revolver 
to  his  side.  Quietly)  You'd  better  come  through 
and  if  you're  the  wise  kid  I  think  you  are,  you  will. 

AGNES.  I  tell  you  I  don't  know  anything,  (about 
to  cry}  Say,  what  are  you  trying  to  hand  me  any 
way? 

BURKE,  (as  lie  puts  revolver  'bade  in  his  pocket 
and  in  a  quiet  coaxing  tone)  Now,  it  won't  do  I 
tell  you.  I'm  wise.  Now  listen  to  me — you  tell  me 
what  you  know  and  I'll  see  that  you  make  a  clean 
get-away  and  slip  you  a  nice  little  piece  of  money, 
too. 

AGNES,  (turning  to  BURKE)  Say,  let  me  get 
this  straight. 

BURKE.     Sure. 

AGNES.  If  I  tell  you  what  I  know  about  Mary 
Turner  and  Joe  G arson,  I  get  away? 

BURKE.     Clean. 

AGNES.     And  you'll  slip  me  some  money,  too  ? 

BURKE.     That's  it !     Now  what  do  you  say  ? 

AGNES.     I  say,  you're  a  great  big  stiff. 

BURKE.     What? 

AGNES.  What  do  you  think  I  am?  (as  she  crosses 
to  lower  left  corner  of  desk.  To  CASSIDY)  Say, 
take  me  out  and  lock  me  up.  I'd  rather  be  in  the 
cooler  than  here  with  him. 

BURKE,  (threateningly)  You'll  tell  or  you'll  go 
up  the  River  for  a  stretch. 

AGNES,  (to  BURKE)  I  don't  know  anything  and 
if  I  did  I  wouldn't  tell  in  a  million  years.  Now 
then,  send  me  up  if  you  can. 

BURKE,  (to  CASSIDY.  Hard  and  sharp)  Take 
her  away.  (CASSIDY  goes  up  to  door  right,,  throws  it 
open  and  stands  above  it) 


WITHIN   THE   LAW 

AGNES,  (as  she  crosses  to  right  lower  corner 
cf  desk)  Do,  Cassidy,  and  do  it  in  a  hurry.  Bern' 
in  the  room  with  him  makes  me  sick.  (a  start 
toward  door  right,  stops  and  turns  to  BURKE) 
Thought  I'd  squeal,  did  yer?  Yes  I  would,  (as  she 
crosses  to  door  right)  like  hell!  (exits  door  right 
followed  by  CASSIDY  who  closes  door) 

(BuEKE  appears  nonplussed.  Kisses  his  hand  and 
blows  it  after  AGNES,  then  crosses  to  his  desk  and 
sits  and  puts  revolver  under  newspaper  at  right 
end  of  desk.  As  he  sits  GILDEE  and  DEMAEEST 
enter  left) 

BUEKE.  How  do  you  do,  Mr.  Gilder?  (presses 
call  buzzer  on  his  desk) 

GILDEE.  (as  he  crosses  in  front  of  BUBKE'S  desk 
turns  chair  at  the  right  of  it  and  sits  placing  his 
hat  on  the  desk,  and  DEMAEEST  stands  left  of 
BUEKE'S  desk)  Inspector —  (DAN  enters  left) 

BUEKE.  Dan,  have  Mr.  Gilder's  son  brought  up. 
(DAN  exits  right  closing  door.  To  GILDEE)  Bad 
business,  sir — very  bad  business. 

GILDEE.     What  does  he  say? 

BUEKE.  Nothing.  That's  why  I  sent  for  you. 
Mr.  Demarest  has  made  the  situation  plain  ? 

GILDEE.  Perfectly.  It's  a  terrible  position  for 
my  boy.  You'll  release  him  at  once,  won't  you? 

BUEKE.     I  can't.     You  oughtn't  to  expect  it. 

GILDEE.     But   you   know   very   well   he   didn't — 

BUEKE.     I  don't  know  anything  about  it — yet. 

GILDER,     Inspector,  you  don't  mean — 

BUEKE.     I   mean  we've  got  to   make  him  talk. 

(DAN  enters  door  right  and  stands  above  door.  The 
sound  of  the  door  opening  causes  GILDEE  to  turn  and 
rise)  That's  what  I  want  you  to  do  for  all  our  sakes. 


122  WITHIN    THE   LAW 

(DiCK  enters  door  right.    DAN  exits  door  right,  clos 
ing  door  after  him) 

GILDER.  Dick,  my  boy — (crossing  to  DICK  and 
putting  his  right  hand  on  DICK'S  left  shoulder  and 
taking  DICK'S  left  hand  in  his  left  hand  and  leads 
DICK  down  stage)  The  inspector  tells  me  you  have 
refused  to  answer  his  questions.  (DiCK  is  looking 
straight  ahead  of  him  and  nods) 

GILDER.  That  wasn't  wise  under  the  circum 
stances.  However,  Demarest  and  I  are  here  now  to 
protect  your  interests  and  you  can  talk  freely. 

BURKE.     He's  got  to  talk  freely. 

GILDER.  Now,  who  killed  that  man?  We  must 
know.  Tell  me! 

BURKE,     (as  he  half  rises)     \Yhere  did  you  get — 

DEMAREST.  (interrupting  him)  Wait,  please 
wait,  (as  he  crosses  to  DICK  and  GILDER  steps  back, 
he  comes  down  to  DICK'S  right)  Give  the  boy  a 
chance,  (as  he  places  his  hand  on  DICK'S  shoulder) 
Dick,  I  don't  want  to  frighten  you,  but  your  position 
is  really  a  dangerous  one.  Your  only  chance  is  to 
speak  with  perfect  frankness.  I  pledge  you  my  word 
I  am  speaking  the  truth.  Dick,  let  me  forget  that 
I'm  the  District  Attorney  and  remember  only  that 
I'm  an  old  friend  of  yours  and  your  father's  who  is 
trying  very  hard  to  help  you.  Surely  you  can  trust 
me?  (hand  off  shoulder)  Tell  me — who  shot 
Griggs? 

DICK,     (after  a  pause}     I  did. 

DEMAREST.     Why  ? 

DICK.     Because  I  thought  he  was  a  burglar. 

DEMAREST.  Oh,  I  see.  Now,  let's  go  back  a  little. 
Burke  says  you  told  him  last  night  that  you  had 
persuaded  your  wife  to  come  over  to  the  house  and 
join  you.  IE  that  true? 


WITHIN   THE   LAW  123 

DICK.    Yes. 

DEMAREST.  And  while  you  were  talking — tell  me, 
Dick,  just  what  did  happen  ?  (a  pause,  as  DICK  does 
not  answer)  Did  this  burglar  come  into  the  room? 

DICK.     Yes. 

DEMAREST.     And  he  attacked  you  ? 

DICK.     Yes ! 

DEMAREST.     And  there  was  a  struggle? 

DICK.     Yes. 

DEMAREST.     And  you  shot  him  ? 

DICK.    Yes. 

DEMAREST.  (very  quietly)  Then  where  did  you 
get  the  revolver? 

DICK,  (as  he  turns  to  DEMAREST)  Why,  I 
grabbed — (suddenly  realizing  that  he  was  about  to 
tell  the  truth)  So  you're  trying  to  trap  me,  too? 
(as  he  crosses  to  left  center  and  stands  facing  left) 
You  and  your  talk  of  friendship — 

DEMAREST.  (crossing  up  to  right  corner  of  desk} 
I  am  your  friend. 

BURKE,  (rising)  Yes  and  you  don't  want  to 
take  us  for  fools  either.  If  you  shot  Griggs  in  mis 
take  for  a  burglar  why  did  you  try  to  hide  the  fact? 
Why  did  you  pretend  that  you  and  your  wife  were 
alone  in  the  room?  Why  didn't  you  call  for  help — 
for  the  police  as  any  honest  man  would  under  the 
circumstances? 

GILDER,  (crossing  to  chair  right  of  desk)  We 
are  trying  to  save  you. 

BURKE,  (as  he  gets  revolver  and  holds  it  out 
toward  DICK)  Where  did  you  get  this  gun? 

DICK,  (crosses  to  desk  and  throws  chair  left  of 
it  up  out  of  his  way  and  looks  squarely  into  BURKE'S 
face)  I  won't  talk  any  more  until  I've  seen  my  wife. 
T  want  to  know  what  you've  done  to  her. 


124  WITHIN   THE   LAW 

BURKE.     Did  she  kill  Griggs? 
DICK.     No,  no! 

BURKE.     Then  who  did?    Who  did? 
DICK.     I  won't  speak  again  until  I've  seen  a  law 
yer  I  can  trust. 

GILDER.  Dick,  if  you  know  who  killed  this  man 
you  must  speak  to  protect  yourself. 

BURKE.  The  gun  was  found  in  your  pocket. 
Don't  forget  that. 

GILDER.  You  don't  seem  to  realize  the  position 
you  are  in — nor  the  position  I  am  in.  (pleadingly} 
If  you  won't  speak  for  your  own  sake,  do  it  for  mine. 

DICK.  I'm  sorry  dad,  but  I  can't,  (a  look  of 
despair  between  GILDER  and  DEMAREST) 

BURKE,  (with  sudden  change  to  his  quiet  manner 
and  putting  revolver  under  newspaper  again)  I'M 
going  to  give  him  time  to  think  things  over,  (sits) 
Perhaps  he'll  understand  the  importance  of  what 
wre've  been  saying.  Now  young  man  you  want  to 
do  a  lot  of  quick  thinking  and  honest  thinking — 
(presses  call  buzzer) — and  when  you  get  ready  to  tell 
me  the  truth  let  me  know.  (DAN  enters  right,  leaves 
the  door  open  and  stands  above  the  door)  Dan,  have 
one  of  the  other  men  take  him  back.  You  wait  out 
side. 

DICK.  I  want  to  know  about  my  wife.  Where  is 
she? 

BURKE,  (to  DAN)  He's  not  to  speak  to  anyone. 
(to  DICK)  You'll  know  all  about  your  wife,  young 
man,  when  you've  made  up  your  mind  to  tell  me  the 
truth.  (DiCK  gives  BURKE  a  look  of  defiance  then 
crosses  in  front  of  desk  and  is  going  to  go  right  on 
out  between  the  chairs  and  GILDER  when  GILDER 
speaks) 

GILDER,     (as  DICK  is  about  to  pass  him)    Dick! 


WITHIN   THE   LAW  125 

DICK.  Fm  sorry  dad.  (DiCK  then  goes  up  io 
door  right  and  exits  followed  by  DAN  who  closes  the 
door) 

BURKE,  (who  has  been  watching  DICK,  speaks  at 
the,  closing  of  the  door)  Well,  you  see  what  we're 
up  against.  I  can't  let  him  go. 

GILDER,  (as  he  picks  up  his  hat  from  the  desk 
and  crosses  to  left  center)  He's  thinking  of  that 
woman — he's  trying  to  shield  her. 

BURKE.  He's  a  loyal  kid,  I'll  say  that  much  for 
him.  (as  he  presses  call  buzzer)  And  now  I'll  show 
you  the  difference.  (DAN  enters  right  leaving  door 
open)  Dan,  have  that  Turner  woman  brought  up. 
(DAN  exits  and  closes  door)  I'll  have  to  try  a  dif 
ferent  game  with  her.  She's  a  clever  little  dame. 

GILDER,  (crossing  to  BURKE'S  desk)  Do  you 
think  she  could  have  done  it? 

BURKE.  If  she  didn't  she  knows  who  did.  Some 
one  has  got  to  pay  for  killing  Griggs.  I  don't  have 
to  explain  to  Mr.  Demarest.  (DEMAREST  slowly  walks 
around  back  of  BURKE'S  chair  and  over  to  window  at 
up  left  center)  But  Mr.  Gilder,  the  very  foundation 
of  the  work  done  by  this  department  rests  on  the  use 
of  crooks  who  are  willing  to  betray  their  pals  for 
coin.  If  the  murderer  of  Griggs  goes  unpunished, 
it  will  put  the  fear  of  God  into  the  hearts  of  every 
stool  pigeon  we  employ. 

GILDER.     I  see. 

BURKE.  If  we'd  only  caught  Garson  it  wouldn't 
be  such  hard  sleddin'.  (  GILDER  up  to  the  left  of 
DEMAREST.  BURKE  rises  and  going  up  to  the  left  of 
extreme  right  window,  raises  shade  and  calls)  Wil 
liams  ! 

WILLIAMS,     (off  stage  right)     Yes  sir. 

BURKE.  Bring  your  note  book  and  pencil. 
(pause)  And  hurry  up.  ( WILLIAMS  enters  from 


126  WITHIN   THE  LAW 

right  back  of  window  with  note  book  and  pencil) 
Now  I  want  you  to  take  down  everything  that's  said 
in  here,  until  I  give  you  the  notice  to  stop.  Under 
stand? 

WILLIAMS.    Yes  sir. 

BURKE,  (as  he  pulls  down  shade)  Now  don't 
make  any  mistake.  (WILLIAMS  gets  chair  and  sits 
back  of  shade.  As  BURKE  crosses  down  below  desk 
and  to  the  back  of  the  chair  left  and  faces  the  door 
right)  Now  this  time,  I'll  do  the  talking.  No  mat 
ter  what  you  hear  me  say  don't  be  surprised.  Ke- 
member  when  you  deal  with  crooks  you  have  to  use 
crooked  ways. 

(Enter  DAN  at  right,  step  above  the  door  and  MARY 
follows  dressed  as  in  ACT  III.  She  pauses  in  door 
way  a  moment  then  slowly  crosses  down  to  lower 
light  corner  of  desk.  As  soon  as  she  passes  DAN 
he  exits  and  closes  the  door  after  him) 

BURKE,  (as  MARY  comes  to  a  stand-still)  I  just 
sent  for  you  to  tell  you  that  you're  free. 

MARY.     Then  1  can  go  ? 

BURKE,  (as  he  goes  up  to  GILDER  and  DEMAREST 
and  stands  facing  up  stage)  Sure  you  nan  go. 

(MARY  looks  at  them  a  moment,  then  looks  back  of 
her,  then  at  BURKE  and  then  starts  toward  door 
left  slowly — then  makes  up  her  mind  to  go  and 
starts  quickly  toward  door  left.  Just  as  she  is 
about  back  of  chair  left,  BURKE  crosses  to  the  lower 
end  of  his  desk  quickly,  and  as  he  watches  MARY, 
speaks) 

BURKE.     Garson  has  confessed. 
MARY,      (stops   short   and   answers   quickly)     Oh 
no,  he  hasn't. 

BURKE.     What's  the  reason  he  hasn't? 


WITHIN   THE   LAW 


MABY.  (turning  to  BURKE)  Because  he  didn't 
do  it. 

BURKE.    Well,  he  says  that  he  did. 

MARY.     But  how  could  he  when  he  went  to  - 

BURKE,     (eagerly)     Where  did  he  go? 

MARY,  (as  sh<e  comes  down  to  back  of  chair  at 
left)  You  ought  to  know  that  if  you've  arrested 
him. 

BURKE,     (quietly)     Who  shot  Griggs? 

MARY.  My  husband  shot  a  burglar  —  was  his  name 
Griggs? 

BURKE.  Oh,  we  know  better  than  that.  You  see, 
we've  traced  that  Maxim  Silencer.  Garson  bought  it 
himself  at  Hartford. 

MARY,  (interrupting  him,  and  nearly  trapped) 
But  he  told  me— 

BURKE,     (eagerly)     What  did  he  tell  you? 

MARY,  (recovering  herself)  He  told  me  that 
he'd  never  seen  one.  We  were  talking  about  one  the 
other  day.  Surely  if  he  had  anything  of  the  sort 
he'd  have  shown  it  to  me  then. 

BURKE,  (coaxingly)  Now  see  here,  I  can  make 
it  a  lot  easier  for  you  if  you'll  talk.  Come  on  now, 
who  shot  Griggs? 

MARY.  That's  for  you  to  find  out.  (  BURKE  shows 
he's  mad;  crosses  up  to  his  desk  as  he  calls) 

BURKE.  Dan  —  (DAN  enters  right  —  leaves  door 
open  and  stands  above  door.  As  BURKE  sits  at  his 
desk  looking  straight  front)  Take  her  back. 

MARY,  (pause  —  as  MARY  crosses  right  and  just 
as  she  gets  to  right  corner  of  thu  desk  she  stops  and 
turns  to  BURKE)  I  suppose  it's  no  use  for  me  to 
stand  on  my  constitutional  rights  and  demand  to 
see  a  lawyer? 

BURKE.    You  guessed  it  right  the  first  time. 


128  WITHIN   THE   LAW 

MART.  That  is  my  constitutional  right,  isn't  it 
Mr.  Demarest? 

DEMAKEST.    It  is. 

MARY.    Well,  Inspector? 

BURKE.  The  Constitution  don't  go  here,  (a  look 
between  DEMAREST  and  GILDER.  MARY  turns  and 
starts  for  door  right) 

CASSIDY.  (entering  in  a  liwry,  door  left)  Say 
Chief,  we've  got  Garson.  (MARY  turns  quickly  and 
stands  at  door  right,  leaning  against  the  jam) 

BURKE,     (rising)     Fine. 

CASSIDY.  (as  he  crosses  quickly  to  BURKE)  And 
here's  a  letter  that's  just  been  delivered  at  that 
woman's  flat,  (hands  letter  to  BURKE  and  returns 
to  door  left  and  stands  above  it.  There  is  a  pause  as 
BURKE  opens  letter — reads  ii,  then  gives  MARY  a 
look,  and  turns  to  CASSIDY) 

BURKE.  Cassidy  you  go  stay  with  Garson.  I'll 
send  for  him  when  I  want  him. 

CASSIDY.  (as  he  exits  left  closing  door  after  him) 
Yes,  sir. 

BURKE.  Mr.  Demarest,  I'll  have  to  ask  you  to  take 
Mr.  Gilder  outside  for  a  little  while.  I'll  send  word 
later,  (indicating  letter)  I'm  going  to  get  action 
on  this  right  now.  (MARY  starts  to  exit)  Don't 
go,  young  woman,  I  want  you. 

GILDER,     (crossing  to  BURKE)      But  Inspector — 

DEMAREST.  Better  let  Burke  have  his  way,  Mr. 
Gilder.  (GILDER  crosses  to  door  left  and  exits  and 
DEMEREST  follows  as  he  speaks)  I'll  expect  a  report 
from  you  Inspector. 

BURKE.  You'll  get  it  all  right.  (DEMAREST  exits 
left  closing  door  after  him)  That's  all,  Dan.  (T)AN 
exits  right  closing  door  after  him)  Sit  down.  (MARY 
crosses  to  chair  right  of  BURKE'S  desk  and  sits  facing 
directly  front,  BURKE  sits  at  the  same  time  as  MARY) 


WITHIN   THE   LAW  129 

I  want  to  talk  to  you.  (on  the  right  end  of  BURKE'S 
desk  is  a  paper  weight  with  a  looking  glass  back  and 
during  the  following  scene  she  fixes  her  hair  in  it  and 
also  exposes  the  looking  glass  side  to  the  audience) 

BURKE.     Now  I'm  going  to  be  your  friend. 

MARY.    Are  you? 

BURKE.  Yes.  Give  up  the  truth  about  young 
Gilder.  I  know  he  shot  Griggs  but  I'm  not  tak 
ing  any  stock  in  that  burglar  story  and  no  court 
would  either.  What  was  back  of  the  killing?  Was 
he  jealous  of  Griggs?  He  was  always  a  worthless 
young  cub — a  rotten  trick  like  this  would  be  just 
about  his  gait.  Why  did  he  shoot  Eddie  Griggs? 

MARY,  (with  an  outburst  of  feeling)  He  didn't 
kill  him — he  didn't  kill  him.  He's  the  most  won 
derful  man  in  the  world.  I'll  fight  you  today  and 
tomorrow  and  to  the  end  of  my  life  for  Dick  Gilder. 

BURKE.  That's  just  what  I  thought.  Who  did 
shoot  Griggs?  We've  got  everyone  of  that  gang! 
They're  all  crooks.  Why  don't  you  start  afresh — 
I'll  give  you  every  chance  in  the  world.  I'm  on  the 
dead  level  with  you  this  time. 

MARY,  (scornfully)  Hah.  (picks  up  paper 
weight  and  during  the  following  speech  exposes  the 
looking  glass  side  to  audience) 

BURKE.  Oh,  I'll  prove  it.  (picks  up  letter  from 
desk)  Here's  a  letter  that  came  for  you.  (MARY 
reaches  for  letter — BURKE  draws  it  away)  No,  I'll 
read  it.  (he  reads)  "I  can't  go  away  without  tellin' 
you  how  sorry  I  am.  There  won't  never  be  a  time  I 
won't  remember  that  it  was  me  that  got  you  sent  up ; 
that  you  done  time  in  my  place.  I  don't  know  how 
you  could  have  gave  me  all  that  money  after  I  told 
you  what  I  done.  Please  don't  hate  me.  I  ain't 
goin'  to  forgive  myself  ever.  And  I  swear  I'm  goin' 
straight  always.  Your  true  friend — Helen  Morris." 


130  WITHIN   THE   LAW} 

(pause.     BURKE  looks  at  MARY)      You  knew  this? 

MAEY.     Two  days  ago. 

BURKE,     (eagerly)     Did  you  tell  old  Gilder? 

MARY.    What  would  be  the  use  ?     I  had  no  proof— 
no  one  would  believe  me. 

BURKE,  (holding  out  letter)  They'd  believe 
this.  This  letter  sets  you  square.  Why  this  wipes 
out  everything.  If  old  Gilder  saw  this  letter  there's 
nothing  he  wouldn't  do  to  make  amends,  (there  is  a 
pause  as  MARY  fixes  her  hair  in  the  paper  weight) 
Say,  I'll  tell  you  what  I'll  do.  (MARY  is  all  atten 
tion)  You  tell  me  who  shot  Griggs  and  I'll  see  that 
old  Gilder  gets  the  letter.  (MARY  returns  to  fixing 
hair)  Now  listen,  I  give  you  my  word  of  honor. 
( BURKE,  while  continuing  speech,  leans  back  in  his 
chair  pulls  the  shade  aside  to  look  for  WILLIAMS  and 
MARY  gets  the  reflection  of  what  he  is  doing  in  the 
paper  weight)  That  anything  you  say  in  here  is 
just  between  you  and  me.  Just  tip  rne  off  to  the 
truth  and  I'll  get  the  evidence  in  my  own  way. 
There's  nobody  here  but  just  you  and  me. 

MARY,  (laying  down,  paper  weight  and  in  a  low 
tone  after  a  quick  glance  around  the  office)  Are 
you  sure  no  one  will  ever  know? 

BURKE.     No  one  but  you  and  me. 

MARY,  (with  a  laugh  MARY  rises  quickly,  crosses 
up  to  right  side  of  shade  on  extreme  right  window, 
pulls  it  up  disclosing  WILLIAMS,  who  quickly  picks 
up  his  chair  and  exits  right.  MARY  then  crosses 
do wn  to  BURKE)  Did  you  get  it  all  ? 

WILLIAMS,  (from  l)ack  of  shade}  No  ma'am, 
not  quite. 

BURKE,     (looking  straight  ahead)      Oh  hell! 

MARY.  Eight  on  the  level  with  me  aren't  you, 
Burke? 


WITHIN  THE  LAW  131 

BUEKE.  Dan!  (DAN  enters  right;  stands  above 
door  leaving  it  open)  Take  her  back.  (MARY  turns 
and  exits  right  followed  by  DAN  who  closes  door) 

BURKE.  (BURKE  sits  a  moment  then  gets  a  new 
idea)  Cassidy!  (rises,  crosses  to  CASSIDY,  05  he 
enters  from  left,  closing  door  after  him  and  crosses  to 
left  center,  eagerly)  Does  Garson  know  that  we've 
arrested  the  Turner  woman  and  young  Gilder  ? 

CASSIDY.     No,  sir. 

BURKE.  Or  that  we've  got  Chicago  Red  or  Dacey 
here? 

CASSIDY.  No.  He  hasn't  been  spoken  to  since 
we  made  the  collar.  He  seems  worried. 

BURKE.  Well  he'll  be  more  worried  before  I  get 
through  with  him.  Eemember  the  third  degree 
Inspector  Rymes  worked  on  McGloin?  (CASSIDY 
nods)  That's  what  I'm  going  to  do  to  Garson. 

CASSIDY.     Great ! 

BURKE.  He's  got  imagination,  that  crook.  The 
things  he  don't  know  are  the  things  he's  afraid  of. 
After  he  gets  in  here.  I  want  you  to  take  his  pals  one 
after  the  other  and  lock  them  up  there,  (indicating 
the  cells  back  of  windows)  Then  when  you  get  the 
buzzer  from  me,  have  Young  Gilder  and  the  Turner 
woman  sent  in.  The  last  time  you  get  the  buzzer 
come  in  yourself  and  tell  me  that  the  gang  has 
squealed.  I'll  do  the  rest.  Now  don't  bring  in 
Garson  till  you  get  the  signal. 

CASSIDY.  Yes,  sir.  (crosses  and  exits  left,  closing 
door  after  him) 

BURKE.  Dan!  (DAN  enters  right,  leaving  door 
open)  Just  take  those  chairs  out  of  here  for  a  few 
minutes,  (as  BURKE  goes  up  and  pulls  up  the  shade 
at  extreme  left,  DAN  crosses  the  stage  to  chair  down 
left  and  is  about  to  pick  it  up)  No  don't  touch 
that  one.  (DAN  then  picks  up  chair  each  side  of 


132  WITHIN   THE   LAW 

desk  and  exits  left  closing  door  after  him  as  BURKI 
pulls  up  the  remaining  shades.  BURKE  then  starts 
humming  ''Every  little  movement  has  a  meaning  all 
•its  own/'  looks  around  the  office,  crosses  down  to 
chair  down  left  takes  it  by  the  back  turns  it  so  that  a 
person  sitting  in  it  is  half  facing  desk  and  half  fac 
ing  the  cells.  He  then  walks  around  the  chair,  sits 
in  it  looks  around  the  office  theorises  and  quickly 
crosses  to  his  desk  and  sits.  He  then  opens  the 
right-hand  top  drawer  of  desk,  takes  out  cigar,  bites 
the  end  off,  lights  it,  then  stops  humming.  Picking 
up  a  pad  of  paper  from  left  end  of  the  desk  puts  it 
on  lop  ofjhe  ledger  in  front  of  him,  picks  up  the 
special  quill  pen,  gives  a  glance  at  the  door  left  as  he 
presses  the  buzzer  on  his  desk  and  starts  to  write. 
There  is  a  pause  and  only  the  scratching  of  the  pen 
is  heard) 

CASSIDY.  (enters  door  left  and  steps  above  it) 
Here's  Garson,  chief.  (G ARSON  follows  CASSIDY  and 
crosses  it  left  center) 

BURKE,     (without  looking  up)    Hello,  Joe. 

GARSON.  Hello,  (turns  and  looks  at  CASSIDY. 
CASSIDY  then  exits  left  dosing  the  door  after  him 
and  passes  around  to  left  entrance  of  passage  back 
of  the  windows  then  crosses  to  the  right  side  of  the 
stage) 

BURKE,  (very  quiet  and  affable)  Sit  down  a 
minute,  won't  you? 

GARSON.  (after  a  quick  look  around  the  office 
crosses  over  to  BURKE'S  desk.  BURKE  goes  on  ivith 
his  writing)  Say,  what  am  I  arrested  for?  I 
haven't  done  anything. 

BURKE,  (carelessly)  Who  told  you,  you  were 
a  rrested  ? 


WITHIN   THE  LAW  133 

GIBSON.  I  don't  have  to  be  told ;  but  when  a  cop 
grabs  me  and  brings  me  down  here,  I've  got  sense 
enough  to  know  I'm  pinched. 

BURKE,  (without  looking  up)  Is  that  what 
they  did  to  you  Joe?  I'll  have  to  speak  to  Cassidy 
about  that.  (  BURKE  reaches  over  and  presses  dead 
buzz  button  on  his  desk)  Sit  down,  won't  you  Joe? 
I  just  want  to  talk  to  you.  I'll  be  through  here  in 
a  second. 

GARSON".  (there  is  a  silence  as  G ARSON  looks 
around  the  office  then  to  BURKE)  Say,  I'd  like  to 
send  for  a  lawyer. 

BURKE,  (as  if  calming  a  nervous  child)  What's 
the  matter  with  you  Joe?  There's  no  use  your 
hollerin'  till  you're  hurt.  You  know  you're  not 
arrested — maybe  you  never  will  be.  ISTow  for  the  love 
of  Mike  keep  still  and  let  me  finish  this  letter. 
( BURKE  goes  on  with  his  writing.  G ARSON  looks  a 
moment  at  BURKE  then  makes  up  his  mind  to  do  as 
BURKE  says  and  crosses  to  chair  down  left  and  sits 
in  chair  facing  cells  and  BURKE.  As  he  is  seated 
CASSIDY  enters  from  right  end  of  passage  back  of 
windows  with  DACEY  on  his  right  and  marches  to 
third  cell  from  right,  motions  to  DACEY  to  go  in, 
closes  the  door,  locks  it  from  a  bunch  of  keys  he  car 
ries  and  then  turns  and  exits  right  end  of  passage. 
At  their  first  appearance  GARSON  gets  a  start  then 
watches  the  whole  business  intently  until  CASSIDY'S 
exit  then  turning  to  BURKE) 

GARSON.  Say,  Inspector,  if  you've  got  any  charge 
against  me,  I'd  like  to  know  what  it  is  ? 

BURKE,  (assuming  a  puzzled  manner)  What's 
the  matter  with  you  Joe?  I  told  you  I  wanted  to 
ask  you  a  few  questions,  that's  ;ill.  (GARSON  half 
rises)  Now,  sit  down  (GARSON  s#s)  —and  keep 
still  and  let  me  get  through  with  this  job. 


134  WITHIN   THE   LAW 

GARSON.  Say,  Inspector —  (he  stops  suddenly  and 
leans  forward  in  his  chair  as  CASSIDY  enters.  GAS- 
SIDY  does  same  business  as  before,  this  time  with 
CHICAGO  BED  and  puts  him  into  the  next  cell  to  the 
right) 

GARSON".  (showing  more  nervousness  at  CASSIDY'S 
exit,  rises  and  crossing  rapidly  to  desk  as  he  speaks) 
Say,  Inspector  if  you  have  anything  against  me 
why — 

BURKE,  (sharply)  Who  said  there  was?  (quietly) 
What's  the  matter  with  you  today  Joe?  You  seem 
nervous. 

GARSON.  (stepping  lack  from  the  desk.  Eagerly) 
No,  I  ain't  nervous.  Why  ?  What  made  you  think 
that?  This  ain't  exactly  what  I'd  pick  out  as  a 
pleasant  place  to  spend  the  morning.  (pause  then 
GARSON  crosses  to  &ft  side  of  desk  and  leans  over  it) 
Could  I  ask  you  a  question? 

BURKE,     (sharply)     What  is  it? 

GARSON".     I  was  going  to  say  if  — 

BURKE,     (sharply)      If,  what? 

GARSON.  I  was  goin'  to  say — that  is — well,  if  it's 
anything  about  Mary  Turner —  (  BURKE  without 
another  move  stops  writing)  I  don't  know  a  thing, 
(as  he  turns  from  BURKE)  Not  a  thing. 

BURKE,  (resumes  writing)  What  made  you  think 
I  wanted  to  know  anything  about  her?  (presses 
dead  buzzer) 

GARSON.  (hastily)  I  don't  know,  you  were  up 
to  her  house.  (crosses  to  BURKE'S  desk  and  leans 
over  it  to  BURKE)  Don't  you  see?  (CASSIDY  brings 
in  another  man,  GARSON  sees  the  business  over 
BURKE'S  shoulder,  CASSIDY  after  locking  door 
crosses  left  and  exits.  GARSON  watches  him  as  long 
as  he  can  without  moving  his  body  then  turns  and  as 
he  backs  up  stage  gives  BURKE  a  quick  look,  then 


WITHIN   THE   LAW  135 

crosses  to  chair  down  left  and  sits  with  his  back  to 
cells) 

G  ARSON,     (as  he  sits)      God ! 

BURKE,  (quietly)  I  did  want  to  see  her,  that's 
a  fact,  but  she  wasn't  at  her  flat.  I  guess  she  must 
have  taken  my  advice  and  skipped  out.  Clever  girl 
that,  Joe. 

GrAiysoisr.  Yes.  I  was  thinkin'  of  goin'  west 
myself. 

BURKE.  Were  you?  (he  quietly  lays  down  his 
pen,  takes  revolver  in  his  right  hand  from  under 
newspaper,  folds  his  arms  so  that  revolver  is  under 
hix  left  arm,  turns  in  his  chair  so  that  he  is  facing 
G  ARSON  and  leans  toward  him  then  speaks  quietly) 
Why  did  you  kill  Eddie  Griggs  ? 

G  ARSON,  (pause  then  quietly  through  a  nervous 
laugh)  I  didn't  kill  him.  (turning  in  his  chair  to 
fa.ce  BURKE)  I  didn't  kill  him. 

BURKE.  *  (quietly  but  hard  and  sharp)  You  did — 
you  killed  him  last  night  with  this —  (points  revol 
ver  at  G  ARSON)  Why,  come  on  now,  why? 

GARSON.  (slowly  rising  with  persistence)  I 
didn't,  I  tell  you.  (slowly  crossing  to  center  dur 
ing  BURKE'S  speech) 

BURKE,  (sharp  and  quick  and  louder)  You  did 
I  tell  you — you  did. 

GARSON.  (as  he  rushes  over  to  BURKE  and  stares 
him  straight  in  the  eye  and  as  BURKE  has  not  moved 
the  revolver  is  against  G  ARSON'S  chest.  Strong)  I  tell 
you  I  didn't,  (there  is  a  pause  without  a  move,  then 
BURKE  sees  his  trick  has  failed,  with  his  eye  on  GAR- 
SON  drops  the  revolver  back  on  the  right  end  of  desk 
and  sits  in  his  chair  and  speaks  quietly) 

BURKE.  Well,  I  didn't  think  you  did.  (picks  up 
his  pen  and  starts  writing  again)  But  I  wasn't  sure 
so  I  bad  to  take  a  chance,  (turns  quickly  and  looks 


136  WITHIN   THE   LAW 

at  GAKSON)     You  understand  don't  you?     ( BURKE 
starts  writing  again) 

GARSON.  (straightening  up  and  moving  a  little  to 
left)  Yes,  sure. 

BURKE,  (lightly)  We've  got  the  right  party  all 
safe  enough. 

GARSON.     (a  quick  look  at  BURKE)      You  have? 

BURKE.     You  can  bet  we  have. 

GARSON.  (as  he  starts  toward  door  left)  If  you 
don't  want  me —  (stops  short  at  BURKE'S  first  word) 

BURKE,     (lightly)     What's  that? 

GARSON.  (as  he  starts  again  toward  door  left  and 
just  reaches  door  with  his  hand  on  the  knob  as 
BURKE  speaks  which  makes  him  stop  short  again)  I 
say  if  you  don't  want  me  I'll  get  along. 

BURKE,  (stops  writing  and  lays  cigar  on  ash 
tray — lightly)  What's  your  hurry?  ( BURKE  lays 
down  pen  presses  dead  buzzer  and  as  he  rises  and 
crosses  to  left  center,,  speaks  casually)  Where  did 
you  say  Mary  Turner  was  last  night  ? 

GARSON.  (as  he  turns  and  with  almost  a  scream) 
I  don't  know  where  she  was,  I — (realizes  he  has  made 
a  mistake  and  correcting  himself  and  controlling  his 
voice)  She  was  home.  She  never  left  the  house 
last  night. 

BURKE,  (looking  sharply  at  GARSON  and  crossing 
to  him  and  speaking  sharply)  Know  anything  about 
where  young  Gilder  is? 

GARSON.  (looking  right  at  BURKE  and  with  an 
air  of  truth)  Not  a  thing.  (BURKE  watches  GAR- 
SON^  closely.  Door  left  opens.  DAN  enters,  stands 
above  it  and  MARY  follows,  sees  GARSON,  and  a  look 
passes  between  them  and  MARY  quickly  crosses  to 
ward  GARSON  below  desk.  BURKE  turns,  crosses 
down  and  meets  MARY  at  lower  left  corner  of  desk, 
takes  her  right  arm  in  his  left  hand  places  her  o,t  the 


WITHIN   THE   LAW  137 

upper  left  corner  of  desk;  then,  without  taking  his 
eyes  off  MARY,  steps  up  against  the  windows  just  mid 
way  between  MARY  and  GARSON.  As  MARY  comes  to 
a  standstill  at  the  upper  end  of  the  desk — DICK 
enters  and  quickly  crosses  to  down  right  center.  As 
DICK  is  tuelt  on  CASSIDY  enters  quickly  door  left  and 
speaks  sharply  from  just  below  door) 

CASSIDY.  (all  give  a  start  and  look  at  CASSIDY. 
BURKE  turns  and  watches  GARSON.  There  is  a  pause 
thtn  in  a  tone  of  apology)  Oh,  I  beg  your  pardon  I 
didn't  know  you  were  busy,  (looks  straight  at  GAR- 
SON.  GARSON  is  looking  at  CASSIDY  and  feels  BURKE 
watching  him.  He  slowly  turns  and  looks  BURKE  in 
the  eye,  then  slowly  draws  himself  up  and  throws  his 
shoulders  back  defiantly) 

BURKE,  (after  GARSON'S  business  and  looking  at 
GARSON)  Squealed,  eh?  (pause  as  he  turns  and 
looks  at  DICK)  They  tell  the  same  story  ? 

CASSIDY.     Yes  sir. 

BURKE,  (looking  at  CASSIDY)  I  was  right  then 
all  the  time? 

CASSIDY.    Sure. 

BURKE.  Good  enough,  (turns  quickly  to  MARY 
and  speaking  hard  and  rapidly)  Mary  Turner,  I 
want  you  for  the  murder  of — 

GARSON.  (as  he  springs  to  BURKE)  That's  a 
damn  lie.  (coming  down  center)  I  did  it. 

MARY,  (crossing  quickly  to  G  ARSON'S  right) 
NO,  JOE,  NO.  Don't— talk— don't  talk. 

BURKE,  (as  he  crosses  to  his  chair  back  of  desk) 
Joe  has  talked. 

MARY.    He  did  it  to  protect  me. 

BURKE.  Dan !  Send  Williams  here  to  take  GAR- 
SON'S  confession !  (DAN  exits  right  and  closes  door) 

MARY.    He's  not  going  to  confess. 


188  WITHIN    THE    LAW 

BURKE.  Oh  yes,  he  is.  (perfunctorily)  You  are 
all  cautioned  that  anything  you  say  will  be  used 
against  you.  (as  he  sits)  Come,  Joe.  (picks  up 
cigar  and  starts  smoking.  WILLIAMS  enters  door 
right  with  note  book  and  pencil.,  closes  door  and 
crosses  to  BURKE'S  right  and  stands  ready  to  take 
dictation.  CASSIDY  moves  up  above  door  left  and 
stands) 

MABY.  (to  GARSON)  Don't  speak  until  we  can 
get  a  lawyer  for  you. 

BURKE,  (impatiently)  It's  no  use,  my  girl.  I 
told  you  I'd  get  you.  I'm  going  to  try  you  and 
Garson  and  the  whole  gang  for  murder — everyone  of 
you.  Gilder,  you'll  go  to  the  house  of  detention  as 
a  witness.  Come  on,  Joe. 

GARSON.  (pause  as  GARSON  starts  to  cross  to 
BURKE,  MARY  attempts  to  stop  him  and  he  in  action 
tells  her  to  leave  it  to  him.  He  then  crosses  in 
front  of  MARY  to  BURKE)  If  I  come  through,  will 
you  let  them  two  go?  (indicating  MARY  and  DICK) 

MARY,  (crossing-  up  to  GARSON)  We'll  spend 
every  dollar  we  can  raise. 

BURKE,  (impatiently)  Now,  it's  no  use.  He 
said  he  did  it.  Now  that  we're  sure  he's  our  man 
he  hasn't  got  a  chance  in  the  world. 

GARSON.  Well,  how  about  them?  Do  they  go 
clear  ? 

MARY.  We'll  get  the  best  lawyers  in  the  country. 
We'll  save  you,  Joe,  we'll  save  you. 

GARSON.  You  can't.  They've  got  it  on  me.  My 
time's  come  Mary  and  I  can  save  you  a  lot  of  trouble. 

BURKE.  He's  right.  We've  got  him  cold.  What's 
the  use  of  dragging  you  two  into  it? 

GARSON.  They  go  clear?  They  ain't  even  called 
as  witnesses? 


WITHIN   THE   LAW  139 

BURKE.  You're  on.  (sits  back  in  his  chair 
smoking) 

GABSON.  (as  he  straightens  up)  Then  here 
goes. 

MABY.  (backing  away  from  GAESON  and  starting 
for  chair  down  left.  DICK  crosses  to  MARY  and 
helps  her  to  chair) 

GARSON.  There's  no  other  way.  (after  DICK 
passes  him)  I'm  going  through  with  it.  (MAKY 
watches  by  GAESON.  Pause  until  MARY  is  sealed 
in  chair  facing  front  with  her  head  bowed  and  rest 
ing  on  the  back  of  the  chair  and  DICK  standing  above 
her  with  his  hands  on  her  shoulders.  WILLIAMS 
takes  the  confession  in  shorthand  notes  in  his  note 
book) 

GAESON.  (facing  front  in  mechanical  tone)  My 
name's  Joe  Gar  son. 

BUEKE.     Alias  ? 

GABSON.  (to  BUEKE)  Alias  nothin'.  Garson's 
my  monaker.  (to  the  front)  I  shot  English  Eddie 
Griggs  because  he  was  a  skunk  and  a  stool  pigeon 
arid  he  got  just  what's  comin'  to  him. 

BURKE.     Oh,  we  can't  take  a  confession  like  that. 

GARSON.  (to  BURKE,  doggedly)  Because  he  was 
a  skunk  and  a  stool  pigeon.  (to  WILLIAMS)  Have 
you  got  it?  (WILLIAMS  nods — facing  front)  I 
croaked  him  just  as  he  was  goin'  to  call  the  bulls 
with  a  police  whistle,  I  used  a  gun  with  smokeless 
powder  and  a  Maxim  Silencer,  so  it  didn't  make  any 
noise,  (to  BURKE)  Say,  I'll  bet  it's  the  first  time 
a  guy  was  ever  croaked  with  one  of  them  things — 
ain't  it? 

BUEKE.    Thaf  s  right,  Joe. 

GABSON.  (to  BUEKE — proudly)  Some  class  to 
that,  eh?  (facing  front)  I  got  the  gun  and  the 
Maxim  thing  from  a  fence  in  Boston,  (to  BURKE) 


140  WITHIN   THE  LAW 

Say,  them  things  cost  sixty  dollars  and  they're 
worth  the  money,  too.  They'll  remember  me  as  the 
first  to  spring  one  of  them,  won't  they? 

BURKE.     They  sure  will,  Joe. 

GARSON.  (facing  front)  Nobody  knew  I  had  it. 
(MARY  starts  to  speak.  With  meaning)  Nobody 
knew  I  had  it.  Nobody.  And  nobody  had  any 
thing  to  do  with  the  killin'  but  me — (MARY  again 
lows  her  head  on  the  lack  of  the  chair) 

BURKE.  Was  there  any  bad  feeling  between  you 
and  Griggs? 

GARSOX.  (facing  front)  He  was  a  stool  pigeon 
and  I  hated  his  guts — that  all. 

BURKE.     Have  you  anything  else  to  say? 

GARSON.  NO,  NOTHIN'.  I  croaked  him  and 
I'm  glad  I  done  it.  He  was  a  skunk.  And  this  is 
all  true,  so  help  me  Gocl. 

BURKE.  That's  all,  Williams.  He'll  sign  it  just 
as  soon  as  you've  transcribed  the  notes.  (WILLIAMS 
exits  right  closing  door  after  him.  To  MARY) 
Young  woman,  it's  just  like  I  told  you,  you  can't 
beat  the  law.  Garson  thought  he  could  and  now — 

GARSON.  (interrupting  and  crossing  to  MARY) 
That's  right  Mary,  you  can't  beat  the  law.  And  this 
same  old  law  says  "A  frail  must  stick  to  her  man." 
(MARY  doesn't  answer)  It's  the  best  thing  to  do. 
(with  real  sincerity)  And  say,  you  want  to  cut  out 
that  worryin'  about  me.  I  ain't  worrin'.  Why  it's 
somethin'  new  I've  pulled  off.  I'll  bet  there'll  be  a 
lot  of  stuff  in  the  newspapers  and  my  pictures  in 
most  of  them.  (turns  and  crossing  to  BURKE 
eagerly)  Say,  if  the  reporters  want  any  pictures  of 
me  could  I  have  some  new  ones  taken — the  one 
you've  got  of  me  in  the  gallery's  over  ten  years  old — 
I've  took  off  my  beard  since  then — could  I  have  some 
new  ones? 


WITHIN   THE   LAW  141 

BUEKE.  Sure  you  can,  Joe,  I'll  send  you  right  up 
to  the  gallery  now. 

G  ARSON,  (to  BURKE)  Immense.  (crosses 
down  and  gives  DICK'S  right  shoulder  a  slap  and 
DICK  turns  and  offers  his  hand — as  GAKSON  takes 
DICK'S  hand  to  shake  hands)  Well,  so  long,  young 
feller,  (looks  at  MARY,  anad  starts  to  cross  right  as 
he  speaks)  Good-bye  Mary. 

MART,  (as  she  rises  and  follows  GARSON)  Joe, 
Joe! 

G ARSON",  (he  turns  and  GARSON  takes  MARY  in  his 
arms)  That's  all  right.  That's  all  right.  He'll  look 
after  you.  Gee,  I'd  like  to  see  you  two  with  three  or 
four  kids  playin'  around  the  house,  (to  DICK)  Take 
good  care  of  her,  won't  yer?  (DiCK  comes  down 
stage  back  of  MARY  and  GARSON  turns  MARY  over  to 
him  and  DICK  puts  his  arms  around  MARY  and  she 
buries  her  face  on  his  left  shoulder)  Well —  (as  he 
crosses  stage  right)  So  long.  (exits  door  right. 
There  is  a  pause.  BURKE  rises  with  cigar  in  his 
mouth,  looks  at  MARY  and  DICK,  picks  up  the  HELEN 
MORRIS  letter) 

BURKE,  (quietly)  Cassidy — (CASSIDY  crosses  to 
BURKE)  Mr.  Gilder  out  there? 

CASSIDY.    Yes,  sir. 

BURKE,  (handing  letter  to  CASSIDY)  Give  him 
this  letter  and  tell  him  to  read  it  at  once.  (CASSIDY 
nods,  smiles,  crosses  to  door  left  and  exits  as  BURKE 
crosses  to  door  right.  BURKE  stops  in  doorway  right 
and  comes  a  little  down  right.  To  DICK  and  MARY — 
removing  cigar  from  his  mouth.  Sternly)  Just 
one  thing  more.  When  I  get  back  I  don't  want  to 
find  anyone  here,  not  anyone,  (lightly  with  a  smile) 
Get  me?  (up  to  door  right,  and  exits  smoking. 
MARY  disengages  herself  from  DICK'S  arms  and  cry 
ing  crosses  to  the  right  end  of  BURKE'S  desk  looking 


142  WITHIN   THE   LAW 

off  toward  where  GAESON  made  his  exit.  DICK  waits 
until  she  is  standing  still,  then  starts  for  door  left, 
changes  his  mind  and,  crossing  over  after  MAEY,  puts 
his  right  hand  on  her  left  shoulder  and  turns  her 
around  to  face  him  and  steps  back.  She  looks  up 
and  with  a  cry  of  gladness  comes  to  DICK  with  her 
arms  outstretched.  They  embrace) 

CURTAIN 


MEMOS   FOE    STAGE   MANAGER 


ACT   I 

B.  1  E.     (phone  bell) 

SABAH.     "Me,  too,  Mr.  Dick."  (Rings  until  SARAH 
removes  receiver) 

Curtain  Warning: 

GILDER.     "Take  her  away,  officer." 

Ring: 

MAEY.     "For  all  I'm  losing  to-day." 


ACT    II 

L.  2.  E.     (phone  bell) 

MAEY.     "I  shouldn't  be  in  the  least  surprised." 
(rings  until  MAEY  removes  receiver) 

u.  L.  c.     (door  bell) 

GABSON.     "I've  seen  pulled  off  in  this  town." 

u.  L.  c.     (door  bell) 

GAESON.     "I'll  bet  it's  the  goods,  just  the  same." 
MAEY.     "I  expect  him  any  minute,  and  when  he 

comes"  — 

u.  L.  c.     (door  bell) 

GAESON.    "Solid  Ivory !" 
E.  1  E.     (break  vase) 

GAESON.     "No  it  ain't.     Now  you  just  turn  your 
back  and  you  won't  hear  - 

10  "3 


144  WITHIN   THE   LAW 

u.  L.  c.     (door  bell) 

GARSON.     "Oh,  I  got  it'  over  in  Boston  last  week." 

Curtain  Warning: 
MARY.     "And  if  I  am,  who  made  me  one?" 

King: 

MARY.     "My  name,  and  gave  me  a  number.    Now 
Fve  given  up — 


ACT   III 

SCENE  1 

Bay  Window  R.     (Warning  to  light  lite  lamp  with 

mask  over  it) 
BURKE.     "He'll  go  to  Chicago/' 

Bay  Window  R.     (Revolving  white  light  effect) 

BURKE.  "Just  ring  for  your  man,  will  you, 
please?"  (Blinder  with  circular  hole  in  middle, 
same  size  as  lens  of  lamp,  is  slowly  passed  in  front  of 
lamp) 

Curtain  Warning: 

BURKE.  "Now,  Mr.  Gilder,  I'll  have  lu  ask  a 
little  help  from  you." 

Ring:  ( GILDER  starts  toward  bay-window.  Cur 
tain  down,  all  lights  out  except  moonlight. 
Chime  starts,  tarn  out  loth  practical  lamps  on 
stage) 


ACT  III 


SCENE  II 

Curtain  Warning:     (Fifth  stroke  of  chime) 
Curtain  up:     (Eleventh  stroke  of  chime) 
R.  1  E.     (Telegraph  effect.    GARSON  taps  message 
on  phone  mouth-piece  with  pen.      Then  answer 
with  about  a  dozen  clicks  of  telegraph  effect) 
Switchboard.     (Chandelier  on) 

GARSON.    "Wait  till  I  turn  on  the  lights." 
R.  1  E.     (Buzzer) 

GARSON.     "We've  got  to   hurry  and" — (Buzzing 

stops  as  GARSON  removes  receiver) 
B.  1  E.     (Telegraph  effect) 

GARSON.    "Well,   we've   got   to   take  a   chance." 
(About  6  clicks) 
BIGHT  1  E.     (Telegraph  effect) 

GARSON.    "Yes,  she's  on,"  (Telegraph  message  as 
GARSON   translates  it  and  stop   clicking   on  words 
"front  door.") 
UPPER  R.  E.     (Amber  light  to  be   lit  when  MARY 

enters  at  left  3  entrance.) 
Switchboard:     (Chandelier  out) 

GARSON.     "Lights."     (And  lie  snaps  his  fingers) 
R.  1  E.  and  L.  1  E.     (Amber  baby-spots  on  as  click 
lights  lamp  on  table  back  of  couch;  blinder  on 
both    lamps    removed    and    lights    trained    on 
MARY'S  and  DICK'S  faces) 
Switchboard:     (Chandelier  on) 

MARY.    "I  want  to  see  the  face  of  every  man  In 
this  room." 


146  WITHIN   THE   LAW 

L.  1  E.  (Amber  baby-spot.  This  one  baby-spot  off 
as  GRIGGS  is  shot,  so  that  when  chandelier  is 
again  turned  off,  the  body  of  GRIGGS  does  not 
show  in  the  darkness) 

Switchboard:  (Chandelier  out.  DICK  rushes  up  and 
touches  switch  on  wall  left) 

Bay  Window  R.  (Light  revolving  white  light  with 
mask  on) 

Bay  Window  R.     (Revolving  white  light  effect) 
BURKE.    "You  see,  I  had  some  business  here — 

Switchboard:     (Chandelier  on) 
BURKE.     "What's  that?" 

R.  1  E.  (Amber  baby-spot  off  after  BURKE  lights 
chandelier) 

Curtain  Warning: 

BURKE.     "Cassidy,  you  and  Thompson  take  them 
both  downtown." 

Eing: 

MARY.     "But  that  man  was  a  burglar— 


ACT   IV 


Curtain  Warning: 

GARSON.    "Well,  so  long." 

Ring:     (As  MARY  throws  her  arms  around  DICK'S 
neck) 


PROPERTY  PLOT 


ACT    I 

Office  of  Edward  Gilder. 

Furniture    in    this    act — mahogany    and    green 
leather.      Green  carpet. 
1  Flat  top  magonany  desk  (down  right) 
1  5x3  mahogany  table  (up  left) 
1  Mahogany  desk  chair   (right  of  desk) 
1  Mahogany  office  chair  (left  of  desk) 
1  Mahogany  office  chair  (below  table  up  left) 
1  Mahogany  office  chair  (in  the  upper  right  corner  of 

the  office) 

1  Green  leather  arm  chair  (down  left  below  door) 
1  Green  leather  rocker  (above  desk  and  to  the  right 

of  the  center  door) 

I  Mahogany  hat  tree  (left  of  center  door) 
Department  store  samples  (on  table  up  left) 
'Phone  (on  upper  end  of  desk  down  right) 
Desk  blotter,  memo  pad,  pens,  pencils,  ink-stand, 
desk   calendar,   2   letter   baskets,   3   piles   of 
opened  letters,  several  unopened  letters,  letter 
opener,  sten.  note-book  and  pencil. 
1  Box  of  cigars  (in  upper  right  desk  drawer) 
1  Box  of  safety  matches  and  ash  tray  (on  desk) 
1  Old  suit  case  covered  with  foreign  labels  (off  stage 

at  center  door  for  DICK) 
Money  for  stenographer  (2  five  dollar  bills) 
Money  for  Edward  Gilder  (a  dozen  yellow  backs) 
1  Pair  of  handcuffs  for  Mary   (off  stage  at  center 

door) 
1  Phone  bell  off  stage  (R.  1  E.  works  on  cue) 

Cigar  in  box  on  top  right  drawer  of  Gilder's  desk. 
Match  holder  and  matches  on  desk. 
Ash  tray  on  desk. 

147 


PROPERTY  PLOT 


ACT  II 

Mary  Turner's  Apartment.  Furniture  in  this  act 
— Chippendale,  bay-window  draperies,  covering  of 
couch.,  arm  chair  down  right  and  chair  left  of  trick 
table,  all  of  cretonne,  of  lavender,  purple  and  white 
combination.  Blue  carpet. 
1  Five  foot  round  table  (at  left  center  with  drawer 

turned  to  left) 
1  Arm  chair  (left  of  table) 
1  Armless  chair   (right  of  table) 
1  Arm  chair  (down  left  below  door) 
1  Tea  table   (above  door  left) 
1  Silver  tea  set   (on  tea  table) 

1  Window  seat  (in  bay  window) 

t   Cushion  on  window  seat  (fitted  to  suit  shape  of 
window  seat) 

2  Lavender  and  purple  pillows  (on  window  seat) 
1  Set  of  Draperies  (on  bay  window) 

1  Muffin  stand  (up  left  center  between  door  and  bay 
window) 

3  Plates  (on  muffin  stand) 

1  Lounge  (up  center  between  the  two  doors  with  the 

head  towards  door  up  left) 

2  Lavender  and  purple  pillows  (on  lounge) 

1  English  serving  table   (down  right  center.     This 
is  the  trick  table) 

1  Low  back  padded  arm  chair  (left  of  trick  table) 

1  Pillow  in  chair  (left  of  trick  table) 

1  High  back  padded  arm  chair  (down  right  and  fac 
ing  center) 

1  Pillow  (in  arm  chair  down  right) 

1  Ladies  desk  (against  wall  right  below  fire  place) 

1  Small  desk  chair  (in  front  of  desk) 
148 


WITHIN   THE   LAW  149 

1  Brass  fender  (in  front  of  fire-place) 

1  Set  brass  fire-irons  (right  of  fire-place) 

1  Ladies'  writing  desk  set  (on  desk) 

1  Vase  of  lilacs  (on  lop  of  desk) 

1  Standing  vase  containing  3  long  stemmed  Ameri 
can-Beauty  Eoses  (between  fire  place  and 
ladies  desk) 

1  Small  square  table  (between  fire-place  and  up  right 
center  door) 

1  Small  case  of  buttercups  (on  small  square  table) 

2  Books  on  trick  table  (»et  at  right  angles  to  each 

other  and  in  such  a  way  as  to  hide  hole  in 

table  from  audience) 
1  Magazine  (on  trick  table) 
1  Vase  of  Buttercups  to  be  broken  (off  stage  up  right 

center) 
1  Sunday  newspaper   (on  floor  betiveen  trick  table 

and  arm  chair  left  of  it) 
One  round  table  down  left — phone,  ladies  desk  set, 

and  3  or  4  magazines. 
In  drawer  of  round  table,  down  left — legal  paper, 

mesh  pocket  book  with  5  or  6  yellow  back 

bills  in  it,  small  note  book  and  pencil. 
1  Small  picture  on  wall  (down  left  between  door  and 

bay  window) 
1  Small  placque  on  wall  (between  bay  window  and, 

door  up  left  center) 
1  Large  picture  (on  wall  up  center  between  the  two 

doors) 

1  Small  round  picture  (on  wall  over  fire  place) 
1  Picture  (on  wall  down  right  over  desk) 
1  Small  chair  (in  hall  back  of  door  up  right  center) 
1  Picture  (on  wall  in  hall  up  right  center) 
1  Table  in  hall  (back  of  door  in  hall  up  left  center) 
1  Large  fancy  vase  (on  table  in  hall) 
1  Picture  (on  wall  in  hall  up  left  center) 


150  WITHIN   THE   LAW 

1  Door  bell  (off  stage  up  left  center.  Rung  on  sev 
eral  cues) 

1  Tray  with  glass  of  milk  and  napkin  on  it  (off  stage 
up  left  center  for  FANNIE) 

1  Kevolver  with  "Maxim  Silencer."  (off  stage  up 
right  center  for  GAESON) 

1  'Phone  bell  (off  stage  down  left.     Rung  on  cue) 

1  Large  package  of  money  in  wallet  (off  stage  up 
left  center  for  IRWIN) 

1  Small  note  book  (off  stage  up  left  center  for 
CASSIDY) 

1  Legal  paper  (off  stage  down  left  for  AGNES) 

1  Drawing  on  white  paper  (plan  of  house.  Off  stage 
up  left  center  for  GRIGGS) 


PROPERTY  PLOT 


ACT  III 

Edward  Gilder's  library.     Furniture  in  this  act- 
walnut.     Brown  carpet. 
1  Couch  (high  bacJc  and  ends.     Sets  curtains  line  at 

left  center  diagonally  to  up  center) 
1  24  inch  square  table  back  of  couch    (on  square 
table  back  of  couch)  fancy  cigarette  box,  cigar 
ettes  in  it,  matches  and  match  safe  and  ash 
tray. 

1  Taberette  (up  left  above  door) 
1  Plant  (on  taberette) 

1  Fireplace  mantle  (up  center) 

2  Candle-sticks  (on  mantle) 

1  Set  dark  bras?  fire-dogs  (in  fireplace) 
1  Set  dark  brass  fire-irons  (right  of  fireplace) 
1  Dark  brass,  leather  top  club  fender  (around  fire 
place) 


WITHIN   THE   LAW  151 

1  Chair  (in  front  of  fireplace) 

1  Chair  (left  of  fireplace) 

1  Bookcase    (up  left   center  between  fireplace  and 

door) 
1  Bookcase  (left  below  door) 

1  Statue  (in  the  center  of  the  top  of  up  left  center 

bookcase) 

2  Blue  and  white  vases  (one  on  each  end  of  up  left 

center  bookcase) 
2  Blue  and  white  vases  (one  on  each  end  of  top  of 

down  left  bookcase) 
1  Pair  Practical  Tapestry  Portieres   (on  pole  over 

bay-window  at  right) 
1  Large  Library  Table  (down  right  facing  audience 

just  above  curtain  line) 
1  Arm  chair  (back  of  library  table) 
1  'Phone  (on  right  upper  end  of  library  table) 
1  Rack  of  books  (on  left  lower  end^of  library  table) 
1  Desk  blotter  (on  library  table) 
1  Ink  stand  also  pens  and  pencils  (on  library  table) 
1  Chime  (right  first  entrances) 
1  Padded  mallet  (to  ring  chime) 
1  Revolver  (off  stage  left  for  BURKE) 
1  Ring  of  house  keys  (for  MR.  GILDER) 
1  Revolver  with  "Maxim  Silencer"  (for  GARSON) 
1  Electric  pocket  flash-lamp  (for  GARSON) 
1  Card  on  card  tray  (left  second  entrance  for  butler) 


PROPERTY  PLOT 


ACT  IV 


Inspector  Burke's  Office.     Furniture  in  this  act — 
yellow  oak;  dark  brown  ground  cloth. 


152  WITHIN   THE   LAW 

4  Practical  yellow  shades  (on  window)  with  guide 
wire  on  sides  and  cord  in  the  center  and  cord 
tied  at  the  bottom  so  as  to  allow  the  shades  to 
go  but  %  way  up. 

1  Yellow  oak  flat-top  desk  just  three  feet  back  of 
curtain  line  and  left  end  at  center. 

1  Yellow  oak  swivel  chair  (back  of  desk) 

1  Yellow  oak  office  chair  (right  of  desk) 

1  Yellow  oak  office  chair  (left  of  desk) 

1  Yellow  oak  office  chair   (down  left,  right  of  and 

below  door) 

On  desk,  desk  pad,  large  ledger,  inkstand,  pad  of 
writing  paper,  pen-holder  and  quill  pen  in  it, 
so  that  it  scratches  when  writing,  'phone, 
glass  paper  weight  with  looking-glass  back  at 
right  end,  revolver  with  "Maxim  Silencer"  on, 
newspaper  to  cover  revolver,  match  safe  with 
matches  and  ash  tray. 
In  upper  right  drawer  of  desk — box  of  cigars 

1  Stenographer's  note  book,  pencil  and  chair  (off 
stage  right  at  entrance  to  passage  lack  of  win 
dows  for  WILLIAMS) 

1  Bunch  of  keys  (off  stage  right  at  entrance  to 
passage  back  of  windows  for  CASSIDY) 

1  Addressed   sealed  and   stamped   letter    (off   stage 
left  for  CASSIDY) 

1  Uniform  coat  (for  BURKE) 

1  Inspector's  shield  (for  BURZE) 

1  /Uniform  coat  (for  WILLIAMS) 

1  Policeman's  shield  (for  WILLIAMS) 

1  Uniform  coat  and  trousers  (for  DAN) 

1  Policeman's  shield   (for  DAX) 

1  Buzzer  in  desk  drawer  with  cord  running  to  a 
two-button  board  (on  right  end  of  BURKE'S 
desk)  One  button  alive  and  one  dead. 

1  Cigar  (off  stage  for  DEMAREST) 


ELECTEIC  PLOT 


ACT  I 

Foots  and  first  border,  full  up,  white. 
1  Bunch  at  door  down  left. 
1  White  bunch  at  door  up  center. 
1  Magneto  box,  gives  buzz  sound  hangs  on  upper  end 
of  desk  out  of  sight;  cord  with  push  button  on 
it  on  Gilder's  desk. 


ACT  II 

Foots  and  first  border,  full  up,  white. 
1  White  bunch  at  door  down  left. 
1  White  bunch  at  door  up  left  center 
1  White  bunch  at  door  up  right  center. 
1  Open  air  amber  medium  back  of  bay  window. 
1  Standing  reading  lamp  with  pink  shade  (up  cen 
ter,  back  of  couch  head,,  not  lighted) 
%  Brackets  (one  on  each  side  of  fireplace) 


ACT  III 

Foots  only  full  up,  amber  one,  circuit,  chandelier, 

amber  lamp,  amber  shades,    (not  lighted  in 

Scene  I  but  works  on  and  off  at  switchboard 

with  foots  in  Scene  n) 
1  Practical  lamp — amber  lamps — amber  shades  (on 

right  end  of  down  right   table.     This   lamp 

turns  on  and  of  by  chain  pull) 
1  Practical  lamp — amber  lamp — amber  shades   (on 

table  bach  of  couch.     This  lamp  turns  on  and 

off  by  chain  pull.) 

153 


154  WITHIN   THE   LAW 

1  Two  button  press  wall  switch  (on  wall  left,  "below 
door.  Not  practical  but  supposed  to  control 
chandelier) 

1  Amber  light  (back  of  door  left.     Off  after  Scene  i) 

1  Amber  light  (back  of  door  up  right  center.  Off 
after  Scene  I — on  again  at  cue  in  Scene  n) 

1  Carbon  spot  lens  lamp  back  of  bay  window  (sup 
posed  to  be  revolving  light  of  Metropolitan 
tower.  On  and  off  on  cue,  once  in  Scene  i, 
and  once  in  Scene  n) 

1  Special  blinder  for  white  spot  (long  piece  of 
asbestos  with  round  hole  in  center,  size  of 
lens.  On  cue  this  being  slowly  drawn  across 
the  lighted  lamp  gives  effect  of  revolving 
light.) 

1  Bunch  light — blue  medium  (set  below  bay  window 

and  faces  up  stage  for  moonlight  effect) 

2  Baby   spots   amber   medium    (one   in    right   first 

entrance  and  one  in  left  first  entrance.  On  at 
cue  of  DICK  lighting  lamp  back  of  couch  in 
Scene  n.  Left  first  entrance  lamp  off  as 
GRIGGS  is  shot.  Right  first  entrance  lamp  off 
when  BURKE  turns  on  chandelier.) 

1  Magneto  box,  fixed  so  that  the  bells  are  removable 
and  cord  with  press  button  run  off  to  right 
first  entrance.  On  cue  when  button  is  pressed 
it  gives  a  buzzing  sound.  Sets  on  baseward 
down  and  below  bay  window. 

1  Thone  with  electric  telegraph  effect  in  receiver 
with  cord  running  to  right  first  entrance. 
When  worked  off  stage  on  cue  it  sounds  like  a 
telegraph  key. 


ACT  IV 

Foots  and  first  border,  full  up,  white. 


WITHIN   THE  LAW  155 

1  Bunch  white  (lack  of  door  left) 

1  White  bunch  (lack  of  door  right) 

1  Two  button  board  with  one  button  alive  with  the 
buzz  in  the  drawer  of  Burke's  desk.  It  sets 
on  right  end  of  Burke's  desk  and  has  one  dead 
button. 

1  Magneto  box  with  practical  buzz  inside  and  re 
movable  bells  on  outside.  (It  sets  on  base 
board  just  below  bay  window.  The^  cord  to 
ring  the  buzz  on  cue  runs  off  to  right  first 
entrance) 


CUETAIN    CALLS 


ACT  I 


1  Picture  (Mary's  exit) 

2  Mary  and  Gilder. 

3  Mary  and  Cassidy. 

4  Mary. 

5  Mary,  Gilder  and  Cassidy. 


ACT  II 

1  Picture. 

2  Gilder,  Griggs,  Cassidy  and  Agnes. 

3  Garson,  Burke,  Mary  and  Dick. 

4  Mary  and  Dick. 

5  Mary  and  Garson. 

6  Mary. 

7  Garson. 

8  Dick. 

9  Mary,  Dick  and  Garson. 


156  WITHIN   THE  LAW 

ACT  III 

1  Picture. 

2  Mary,  Garson,  Dick,  Burke,  Cassidy  and  Gilder. 

3  Cassidy,  Burke  and  Gilder. 

4  Dick,  Mary  and  Garson. 

5  Garson. 

6  Dick. 

7  Mary. 

8  Same  as  No.  2. 


ACT  IV 


1  Picture. 

3  Garson,  Burke,  Mary  and  Dick. 


RUNNING  TIME 

ACT  i  21  minutes. 

ACT  ii  43  minutes. 

ACT  in  20  minutes. 

ACT  iv  33  minutes. 


COME  OUT  OF  THE  KITCHEN 

A  charming  comedy  in  3  acts.  Adapted  by  A.  E.  Thomas 
from  the  story  of  the  same  name  by  Alice  Duer  Miller. 
6  males,  5  females.  3  interior  scenes.  Costumes,  modern. 
Plays  2%  hours. 

The  story  of  "Come  Out  of  the  Kitchen"  is  written  around  a 
Virginia  family  of  the  old  aristocracy,  by  the  name  of  Dainger- 
•field,  who,  finding  themselves  temporarily  embarrassed,  decide  to 
Tent  their  magnificent  home  to  a  rich  Yankee.  One  of  the  con 
ditions  of  the  lease  by  the  well-to-do  New  Englander  stipulates 
that  a  competent  staff  of  white  servants  should  be  engaged  for 
his  sojourn  at  the  stately  home.  This  servant  question  presents 
practically  insurmountable  difficulties,  and  one  of  the  daughters 
of  t'ae  family  conceives  the  mad-cap  idea  that  she,  her  sister  and 
their  two  brothers  shall  act  as  the  domestic  staff  for  the  wealthy 
Yankee.  Olivia  Daingerfield,  who  is  the  ringleader  in  the  merry 
scheme,  adopts  the  cognomen  of  Jane  Allen,  and  elects  to  preside 
over  the  destinies  of  the  kitchen.  Her  sister,  Elizabeth,  is  ap 
pointed  housemaid.  Her  elder  brother,  Paul,  is  the  butler,  and 
Charley,  the  youngest  of  the  group,  is  appointed  to  the  position  of 
"bootboy.  When  Burton  Crane  arrives  from  the  North,  accom 
panied  by  Mrs.  Faulkner,  her  daughter,  and  Crane's  attorney, 
Tucker,  they  find  the  staff  of  servants  to  possess  so  many  methods 
of  behavior  out  of  the  ordinary  that  amusing  complications  begin- 
to  arise  immediately.  Olivia's  charm  and  beauty  impress  Crane 
•bove  everything  else,  and  the  merry  story  continues  through  a 
tnaze  of  delightful  incidents  until  the  real  identity  of  the  heroine 
is  finally  disclosed.  But  not  until  Crane  has  professed  his  love 
for  his  charming  cook,  and  the  play  ends  with  the  brightest 
prospects  of  happiness  for  these  two  young  people.  "Come  Out 
of  the  Kitchen,"  with  Ruth  Chatterton  in  the  leading  role,  made 
a  notable  success  on  its  production  by  Henry  Miller  at  the  Cohan 
Theatre,  New  York.  It  was  also  a  great  success  at  the  Strand 
Theatre,  London.  A  most  ingenious  and  entertaining  comedy, 
and  we  strongly  recommend  it  for  amateur  production.  (Royalty, 
twenty-five  dollars.)  Price,  75  Cents. 

GOING   SOME 

Play  in  4  acts.  By  Paul  Armstrong  and  Rex  Beach. 
12  males,  4  females.  2  exteriors,  1  interior.  Costumes, 
modern  and  cowboy.  Plays  a  full  evening. 

Described  by  the  authors  as  the  "chronicle  of  a  certain  lot  of 
eollege  men  and  girls,  with  a  tragic  strain  of  phonograph  and 
eowboys."  A  rollicking  good  story,  full  of  action,  atmosphere, 
comedy  and  drama,  redolent  of  the  adventurous  spirit  of  youth. 
(Royalty,  twenty-five  dollars.)  Price,  75  Cents. 

SAMTJEI,  FRENCH,  25  West  45th  Street,  New  York  City      , 
New  and  Explicit  Descriptive  Catalogue  Mailed  Free  on 


POLLYANNA 

"The  glad  play,"  in  3  acts.  By  Catherine  Chisholm 
Gushing.  Based  on  the  novel  by  Eleanor  H.  Porter.  5 
Males,  6  females.  2  interiors.  Costumes,  modern.  Plays 
2%  hours. 

The  story  has  to  do  with  the  experiences  of  an  orphan  girl 
•who  is  thrust,  unwelcome,  into  the  home  of  a  maiden  aunt.  In 
spite  of  the  tribulations  that  beset  her  life  she  manages  to  find, 
something  to  be  glad  about,  and  brings  light  into  sunless  lives. 
Finally,  Pollyanna  straightens  out  the  love  affairs  of  her  elders, 
a-nd  last,  but  not  least,  finds  happiness  for  herself  in  the  heart 
of  Jimmy.  "Pollyanna "  is  a  glad  play  and  one  which  is  bound 
to  give  one  a  better  appreciation  of  people  and  the  world.  It 
reflects  the  humor,  tenderness  and  humanity  that  gave  the  story 
Bach  wonderful  popularity  among  young  and  old. 

Produced  at  the  Hudson  Theatre,  New  York,  and  for  two  sea- 
•cms  on  tour,  by  George  0.  Tyler,  with  Helen  Hayes  in  the  part 
•f  "Pollyanna."  (Royalty,  twenty-five  dollars.)  Price,  75  OeutB. 


THE  CHARM  SCHOOL 

A  comedy  in  3  acts.  By  Alice  Duer  Miller  and  Robert 
Milton.  6  males,  10  females  (may  be  played  by  5  males 
and  8  females).  Any  number  of  school  girls  may  be  used 
in  the  ensembles.  Scenes,  2  interiors.  Modern  costumes. 
Plays  2%  hours. 

The  story  of  "The  Charm  School"  is  familiar  to  Mrs.  Miller'i 
readers.  It  relates  the  adventures  of  a  handsome  young  auto 
mobile  salesman,  scarcely  out  of  his  'teens,  who,  upon  inheriting 
a  girls'  boarding-school  from  a  maiden  aunt,  insists  on  running  it 
himself,  according  to  his  own  ideas,  chief  of  which  is,  by  the 
•way,  that  the  dominant  feature  in  the  education  of  the  young 
girls  of  to-day  should  be  CHARM.  The  situations  that  arise  are 
teeming  with  humor — clean,  wholesome  humor.  In  the  end  the 
young  man  gives  up  the  school,  and  promises  to  wait  until  the 
most  precocious  of  his  pupils  reaches  a  marriageable  age.  The 
play  has  the  freshness  of  youth,  the  inspiration  of  an  extravagant 
hut  novel  idea,  the  charm  of  originality,  and  the  promise  of  whole- 
Borne,  sanely  amusing,  pleasant  entertainment.  We  strongly  rec 
ommend  it  for  high  school  production.  It  was  first  produced  at 
th«  Bijou  Theatre,  New  York,  then  toured  the  country.  Twe 
companies  are  now  playing  it  in  England.  (Royalty,  twenty-five 
dollars.)  Price,  76  Cents. 

SAMUEL  PBKNCH,  25  West  4.5th  Street,  Wew  York  City 
New  and  Explicit  Pescriptfcro  Catalogue  Mailed  Fiee  on  Bequest 


MRS.  PARTRIDGE  PRESENTS 

Comedy  in  3  acts.  By  Mary  Kennedy  and  Ruth  Haw 
thorne.  6  males,  6  females.  Modern  costumes.  2  interiors. 
Plays  2%  hours. 

The  characters,  scenes  and  situations  are  thoroughly  up-to- 
tJate  in  this  altogether  delightful  American  comedy.  The  heroine 
is  a  woman  of  tremendous  energy,  who  manages  a  business — an 
she  manages  everything — with  great  success,  and  at  home  pre 
sides  over  the  destinies  of  a  growing  son  and  daughter.  Her 
Struggle  to  give  the  children  the  opportunities  she  herself  had 
missed,  and  the  children's  ultimate  revolt  against  her  well-meant 
management — that  is  the  basis  of  the  plot.  The  son  who  is  cast 
for  the  part  of  artist  and  the  daughter  who  is  to  go  on  the  stage 
offer  numerous  opportunities  for  the  development  of  the  comic 
possibilities  in  the  theme. 

The  play  is  one  of  the  most  delightful,  yet  thought-provoking 
American  comedies  of  recent  years,  and  is  warmly  recommended 
to  all  amateur  groups.  (Royalty  on  application.)  Price,  75  Cents. 


IN   THE  NEXT  ROOM 

Melodrama  in  3  acts.  By  Eleanor  Robson  and  Harriet 
Ford.  8  males,  3  females.  2  interiors.  Modern  costumes. 
Plays  2^4  hours. 

"Philip  Vantine  has  bought  a  rare  copy  of  an  original  Bonla 
cabinet  and  ordered  it  shipped  to  his  New  York  home  from  Paris, 
When  it  arrives  it  is  found  to  be  the  original  itself,  the  pos« 
session  of  which  is  desired  by  many  strange  people.  Before  the 
mystery  concerned  with  the  cabinet's  shipment  can  be  cleared 
up,  two  persons  meet  mysterious  death  fooling  with '  it  and  the 
Happiness  of  many  otherwise  happy  actors  is  threatened"  (Burns 
Mantle).  A  first-rate  mystery  play,  comprising  all  the  elements 
of  suspense,  curiosity,  comedy  and  drama.  "In  the  Next  Room'* 
is  quite  easy  to  stage.  It  can  be  unreservedly  recommended  to 
high  schools  and  colleges.  (Royalty,  twenty-five  dollars.) 

Price,  75  Cents. 


..    SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Kew  and  Explicit  Descriptive  Catalogue  Mailed  Free  on  Requea* 


FRENCH'S 
Standard  Library  Edition 


George   M.   Cohan 
Winchell    Smith 
Booth    Tarkington 
William   Gillette 
Frank  Craven 
Owen   Davis 
Austin    Strong 
A.  A.  Milne 
Harriet  Ford 
Paul  Green 
James  Montgomery 
Arthur    Richman 
Philip  Barry 
George  Middleton 
Channing  Pollock 
George   Kaufman 
Martin  Flavin 
Victor  Mapes 
Kate  Douglas  Wiggin 
Rida  Johnson    Young 
Margaret   Mayo 
gjol  Cooper  Megrue 
Jean  Webster 
George    Broadhurst 
George  Hobart 
Frederick  S.    I  sham 
Fred    Ballard 
Percy  Mac  Kay  e 
Willard   Mack 
Jerome  K.  Jerome 
K.  C.  Carton 
William  Cary  Duncan 
Sir  Arthur  Conan  Doyle 


Includes  Plays  by 

Augustus   Thomas 
Rachel  Crothers 
W.  W.  Jacobs 
Ernest  Denny 
Kenyon    Nicholson 
Aaron   Hoffman 
H.  V.  Esmond 
Edgar  Selwyn 
Laurence   HousmiM 
Israel    Zangwill 
Walter  Hackett 
A.  E.  Thomas 
Edna  Ferber 
John  Henry  Mears 
Mark  Swan 
John   B.   Stapletoa 
Frederick    LonsdaJk 
Bryon  Ongley 
Rex  Beach 
Paul  Armstrong 
H.  A.   Du  Souchw 
George   Ade 
J.  Hartley  Manners 
Barry    Conners 
Edith  Ellis 
Harold    Brighouse 
Harvey    J.    O'Higgta* 
Clare  Kummer 
James  Forbes 
William   C.    DeMtlle 
Thompson   Buchanaa 
C.    Haddon   Chambers 
Richard  Harding  Davis 


George  Kelly 
Louis  N.  Parker 
Anthony  Hop* 
Lewis  Beach 
Guy   Bolton 
Bdward    E.    Ros* 
M*xc  Connelly 
Frederick   Pauldta* 
Lynn   Starling 
Clyde  Fitch 
Earl   Derr  Bigger* 
Thomas   Broadhurst 
Charles    Klein 
Bayard  Veiller 
Grace   L.   Furniss 
Martha    Morton 
Robert   Housum 
Carlisle  Moore 
Salisbury    Field 
Leo  Dietrichstein 
Harry  James  Smith 
Eden  Phillpotts 
Brandon  Tynan 
Clayton   Hamilton 
Edward  Sheldon 
Richard  Ganthon? 
Julie  Lippman 
Paul   Dickey 
Prank  Bacon 
Edward  Paulton 
Adelaide   Matthews 
A.   E.  W.  Mason 
Cosmo  Gordon-Leone* 


Catherine  Chisholm  Cushing  J.  C.  and  Elliott  Nugent 
Edward  Childs  Carpenter  Justin  Huntley  McCarthy 
Madeline  Lucette  Ryley  Josephine  Preston  Peabody 

{French's    International    Copyrighted    Edition    contains    plays,    comedies 

and  farces  of  International  reputation;  also  recent  professional  success** 

by   famous    American,   and    English    Authors. 


SAMUEL  FRENCH 

Oldest   Play   Publisher  in  the  World 
95   West  45th   Street,  NEW   YORK   CITY 


"*»»-  •«•**.  1 


